UKRAINIAN CULTURE: Past, Modern Ways of Development

Home , Alexander Balashov, Boris Kozhin, Fern flower, Lviv National Museum, Natalka Poltavka (opera), Olena Chekan

Department of education and science of Ukraine Rivne state humanitarian university

UKRAINIAN CULTURE: past, modern ways of development

Collection of scientific works Scientific messages

Rivne state humanitarian university

Producing 20 In 2th т. Tom I

It is founded in 2000

Rivne – 2014 BBK 63.3 (4Ukr) -7 U45 UDC 94 (477)

Ukrainian Culture: Past, Present and ways of development: Coll. Science. pr., Science. app. Rivnen. state. humanit. Univ. - Vol. 20. T. 1 / compilation. V.G. Vytkalov; redkol .: Bakanurskyy A.G., S.V. Vytkalov, A. Goncharova and others. ; scientific-Ref. Scientific Library RSUH editing. - Rivne : RSUH, 2014. - 381 p.

The collection contains articles scholars of higher education institutions dedicated review historical and artistic issues mostly Western lands. Some of material highlights the diverse facets of theoretical and methodological problems of Ukrainian art. A separate section up posts, reviews, and reviews.

For researchers, students and all those interested in historical and domestic artistic heritage.

Reda ktsiyna colehiya: Editor: V.G. Vytkalov - Ph.D., Professor, Head Department of Cultural Rivne State Humanitarian University Bakanurskyy A.G. - Doctor of Arts, Professor Vytkalov S.V. - Ph.D., Associate Professor, Executive Secretary Goncharov A.M. - Doctor of Cultural Studies, Professor S.I. Zhylyuk - Doctor of Historical Sciences, Professor Chugai Zaharchuk -R.V. - Doctor of Arts, Professor Ivanitskii A.I. - Doctor of Arts, Professor Kyyanovska L.A. - Doctor of Arts, Professor Kravchenko O.V. - Doctor of Cultural Studies, Professor Ovs.iychuk V.A. - Doctor of Arts, Professor R.M Postolovs'kyy - Candidate of Historical Sciences, Professor Y.S. Sabodash - Doctor of Cultural Studies, Professor Suprun N.A. -Yaremko - Doctor of Arts, Professor Troyan S.S. - Doctor of Historical Sciences, Professor Fedoruk O.K. - Doctor of Arts, Professor

Certificate of registration of print media KB № 15560-4032 R. Registered Ministry of Justice of Ukraine, Order № 1489/5 from 18.08.2009.

Compiled by: prof. V.G. Vytkalov Scientific bibliographic Edit: Scientific Library RSUH Reviewer: Y.L. Afanasyev - Doctor of Philosophy, Professor, Head of Department Fine Art and Design Kiev University. B.Grinchenko

Published by the decision RSUH Academic Council (protocol number 4 from November 28, 2014)

Editorial board does not always shared the view of the authors.

The collection is registered by the Bureau of HAC Ukraine as specialized edition of the problems of Art (Resolution № 2409/2 from 02.09.2000 g.) and re-registered as a special edition of Cultural Studies (Resolution № 1- 5.5 from 18.11.2009 g.) And Art (Resolution № 1-05 / 4 of 14.10.2009).

ISSN 2411-1546 © Rivne State Humanitarian University, 2014 FROM THE ORIGINATORS

UDC 008 (477) V.G. Vytkalov UKRAINIAN CULTURAL SPACE IN NEW SOCIAL AND POLITICAL REALITIES

Another issue 20 (2 vols.) Collection »Ukrainian Culture: Past, Present and ways of development»: Scientific notes Rivne State Humanitarian University covers a wide range of issues issues of national culture. Its characteristic feature is the use of archival authors materials, including materials of current archives of source database as a whole, the scientific heritage Ukrainian diaspora, which provides more convincing scientific search really certifies the fact professional approach to research and contributes to the scientific introduction a significant number of new names, dates, cultural attractions, events, etc., which further expands limits of perception such thing as a »national art and culture.» Many authors of this collection are permanent participants of our annual scientific November meetings, with a scholarly reputation in the country and its series of scientific studies demonstrated the evolution of creative achievements of scientist beginner to already known Ukrainian cultural space explorer regional or national art criticism general issues, which are, for example, J. Bermes, S. Vytkalov, V. Dutchak, V. Draganchuk, H. Karas, A. Komenda, R. Mikhailov, S. Oborska and others. The structure of this collection is traditional and has three sections that combine Materials a) historical issues, b) theoretical and applied problems of culture and communications and section reviews. Feature articles placed in compliance with certain historical sequences in all sections. In this collection of available materials as famous scientists who already have a weighty word Ukrainian art or culture, and mostly graduate students, teachers or professional artists who, combining class professional types of artistic practice, developing its theoretical foundations or trying to summarize previous artistic experience stage embodiment of classical works add creative characteristics of those figures that cultural saturated our historical existence and just trying to find their way in science and affirm in problems of its own scientific research. Because of the substantial part of this article, as well as the vast Most of our other collections, distinguished by a certain diversity of opinion as to form, work with archival materials, their interpretation, etc., however thematic content enough articles convincingly demonstrates a broad scientific interests amplitude of modern Ukrainian researchers and allows you to make sure that despite the extremely favorable conditions for the development of scientific Search in modern Ukraine, this networking universities as academic institutions, not only stops, and even acquired a deeper meaning and demonstrates further expansion a number of thematic research. Note also that due to lack of appropriate technical capabilities are not are able to demonstrate relevant qualitative visual range, which would have greatly expanded perceptions submitted to the editorial board material. In this collection (his two volumes) for the first time involved young researchers from far countries (China, Korea, Republic of Belarus, the Russian Federation), who participated X Ukrainian scientific-practical conference »Ukrainian cultural and artistic practice historically, »held at RSUH in November 2014, demonstrating their scientific research school. Therefore, their material is interesting, above all, relevant comparative possibilities characteristics of the different scientific schools and artistic preferences. Regarding the content of the emphasis on the following: This release contains many original Regional directing research information, indicating our traditional collection directions of development of regional cultural and artistic issues and in this regard it is sufficient largely fills a niche regional issues. There is also enough interesting material on the development of instrumental folk art and folk instruments in general, including sufficient wide time period of its existence. The materials to some extent characterize forms formation of a new scientific discipline - »musical archeology.» In this context, note the exploration of scientists of Lviv National Music Academy. Lysenko (I. Zinkiv Chen Nanpu, O. Oliynyk, D. Oliynyk, etc.), Who consider the above issues. Not for the first time in two volumes of this collection presents original materials of bright figures national culture (M. Gottlieb, B. Korzh, J. Yaroslavenka, V. Bezkorovayna, G. Pavlutsky, M. Rostovtsev, L. Vygotsky, V. Peretz et al.), Whose creative achievements through various, mainly social and political circumstances, was unable to reach the reader, in this context, is disclosed One page of the national cultural practices. Interesting and materials which authors open new approaches to artistic interpretation of the classics of world philosophical thought (C. Saldana). The subject of active research interest in the pages of our recent collections are and question different aspects allowed state cultural policy (O. Ovcharuk) and those cultural events organized by Ukraine in areas where natives of the country and its attempts by involving cultural event in held in the EU, to strengthen the international community (M. Monk). Increasingly, the pages appear collections analyzed materials aimed at development of theoretical foundations of cultural and recreational issues (Petrov, S. Vytkalov etc.) new forms of cultural and recreational activities among the population (O. Logvinov) certifying positive trend to develop sufficiently effective form of cultural influence on all social layers. Analysis of scientific studies of this issue and shows the appropriate regional extension issues. Earlier consideration was taken more or less powerful cultural space (the West or Eastern Ukraine) or, at least, the area is a feature of today is focusing to more local components, when the subject of scientific analysis is a separate city or town (L. Bilous), thereby increasing the possibility of preparing a complete history of domestic culture. Given that 2014 is the year celebrating the 200th anniversary of the birth of genius national culture Shevchenko materials in our collections (Vol. 20, 2 vols. and no. 14 »Current issues of cultural studies») contains a lot of different information on the analysis artistic heritage genius Ukrainian people. This is the embodiment of his image in the fine art, or open new facets of artistic interpretation of his legacy (M. Kovtun) different aspects allowed literary compositions aimed at a better understanding of his work (N. Corn), or for new material about this figure in various foreign editions stored in scientific libraries Ukraine (T. Yakubov) and others. Interest and cause attempts to explore thespecific transformation archetypes Ukrainian mentality (V. Oleynik), which gives to better understand the origins of many national cultural events. Chapter III contains several messages regarding different aspects allowed Analysis of Universities professional musical literature, which is printed in western publishers and highlights on the problems that exist in the domestic instrumental performance, based on the lack of music. Placed here and a review of the indicators KNUKiM series of »important dates Kyiv National University of Culture and Arts »and to review work of national artist V. Brykultsya, whose work is associated mainly with the figure of the outstanding jeweler Carl Faberge (N. Sapphire, V. Skurlov).

Summary We analyze the content of the materials presented at the tenth National Scientific Conference. Key words: scientific meetings, cultural and artistic practices, regional culture, research.

Summary Vytkalov V. Ukrainian cultural space is in new social and political realities Maintenance of materials, given on X all Ukrainian scientific practical conference is analysed. Key words: scientific collection, cultural and art practice, regional culture, research.

Abstract Contents Analyzyruetsya materials, predstavlennыh the X vseukraynskuyu nauchno-praktycheskuyu Conference. Keywords: nauchnoe Sobranie, hudozhestvennaya practice the regional culture. SECTION I. HISTORICAL AND ARTISTIC HERITAGE OF UKRAINE IN THE WORLD CULTURAL SPACE

UDK.78.481 A. Oleynik

QUESTIONS FOR RECONSTRUCTION MUSICAL INSTRUMENTS STONE AGE - WITH BRONZE IN UKRAINE

The study of ancient eras of musical instruments in Ukraine are still a kind of terra incognita general musical and instrumental culture of ancient world. Tribes and people living for thousands of years on the territory of ancient Ukraine, made a significant contribution to world civilization. In the northern Black Sea coast has developed one of the main groups of old Indo-Europeans; came from the Ukrainian lands were actively involved in the campaigns of European nations to the East, bringing back their cultural traditions, in particular, and musical instruments. In general the development of Ukraine's population since the Stone Age, can be considered historical option way characteristic of advanced civilizations of the East. After all territory of Ukraine since the days of stone age was huge contact area where many intertwined ethnic groups and cultures. She was Habitat immigrants from Minor and the Near East, the Caucasus, the Urals and more. Currently there are only two studies on the late Paleolithic tools Ukraine. This thorough exploration of S. Bibikov complex percussion instruments from mammoth bones Parking near the village. Mizyn in Chernihiv [1] and K. Eremenko »Music from glacial period to Century Electronics », the first chapter of which is devoted to studying the emergence and development zvukovysotnogo music structure based on scales reconstruction of Paleolithic flutes Molodove (Chernivtsi region.) [3]. Author on accurate copies of three flutes XVII, XII and XV millennia BC, found in different Late layers Parking Molodove-5 resumed the scale of these tools for the first time provided the opportunity to hear their timbre color (Fig. 1a, b). Scale was chromatic, allowing author conclude primitive hlisanduyuchoho chromatic intonation and modal its earlier stage than thinking diatonic. However, aside remained a researcher interesting feature flute with 2 layers, dating from the twelfth millennium BC., which has a strange shape. With seemingly obscure reasons the instrument left germ (Fig. 1 b) and tracks engraving on the case - lines that converge in a tree to the bottom corner. The unusual shape and pattern suggests the importance that was attached to the instrument. Obviously, shoot the flute is left intentionally. This flute could be used in magic rituals to successful hunt. Its function can be reconstructed for simultaneous image of Palaeolithic Trois Frere caves in France (Fig. 1 B). Rock drawing plays »sorcerer» in the clowns horned mask and the skin of a bull. Along with him shows two antelope. Man-magician performs magical ritual pryvorozhennya prey or appeals to zviratotem. He plays the flute and dances, as evidenced by its unusual pose. Molodovska Flute attribute could be similar ritual sorcery. Perhaps the outfit and mask (not preserved) in combination likeness reproduced totem-deer, and flute with germ - its horns. From the Stone Age in Ukraine known and simple woodwinds - whistles. They are made of phalanges bones of animals. These tools are often archaeologists in excavations throughout Europe - France, of Denmark, Moravia and elsewhere (Fig. 1g). This whistle was found in the early layers archaeological excavations in Molodove-5. It is an ancient wind instrument, found in Ukraine dates back to around 23 thousand. BC. Flutes of the same excavations dating from later periods - 17- 12 thousand. BC. According to researchers, signaling whistles used as tools or while hunting quail-pipe and sorcerers were instruments of hunting magic [7; 163]. Whistles phalanx of animals known from archaeological sites in Ukraine and in subsequent historical periods. In particular, they found the settlements Tripoli culture IV-III millennium BC. And Bronze Age settlements II - early I millennium BC. Thanks to the enthusiasm and considerable research, conducting archaeologist S. Bibikov complex Noise-drums of Mizyn became world famous. He was found on the floor of one of the dwellings - yarangas. This complex consists of blades, loins, pelvic bones, and two lower jaw fragment mammoth skull and two kolotushok - one of the mammoth, and the second - a horn of reindeer. Found near attribute ritual dances - noise bracelet. It consisted of five circular plates carved from mammoth ivory and covered with zigzag pattern. Researchers noticed selection mammoth bones for the music industry. It consisted of the most vital parts of the skeleton animals. Perhaps it reflects a specific hunting magic meaning [6; 117-118]. S. Bibikov believed that these drums used in the autumn-winter period (start hunting) and accompanied by magic ritual that was supposed to ensure a successful hunt, because its outcome depended on the survival of communities [1; 50]. This ritual took place outside yarangas, which was inserted hammer complex. Magical instruments, as evidenced by numerous ethnographic study, always carefully guarded (and therefore were in a room where, besides them, kept other ritual attributes - noise bracelets, ocher smears for the body and other items. Should noted that mizynskyy range of percussion instruments gave impetus to the revision mammoth bones which also proved instruments. In particular, the Late Paleolithic settlement Mezhyrich (p. Mezhyrich, Cherkasy region.) at the entrance of the house, archaeologists have discovered the skull of a mammoth decorated a complex geometric pattern. His thorough examination showed that this skull, like a piece mizynskoho shock skull with complex, also used as a percussion instrument type drum. In the parking lot with. II near town. Exactly scoop mammoth was found with traces of characteristic Damage mallet blows. On one side of the blade profile of a man with propylene mouth open, that perhaps singing. Apparently, the image of the shaman-sorcerer who has ritual accompanied by a scoop mallet blows animals. Using shovels animals (eg bovine) as a percussion tool is not limited to the Paleolithic era. An interesting and not yet fully explored ritual ceremonies recorded in the burial shaman, Situated in the Stone Tomb near Melitopol (Zaporozhye region.). This burial dating from the third millennium BC. In place of the severed and placed on his right shoulder head lying dead Bull blade and mallet. Obviously, the shoulder of the mallet ruled by shamanic drum, they attached great sacral-magical significance. Another noise tool - scraper idiofon - with Mizynskoho complex remained in Instrumentation later eras. It's a jaw animals (Fig. 2a). The sound on this instrument mined by rubbing the teeth animal bone or wooden stick. They are produced not only from jaw animals but also from large bones and wood, which are made uniformly nadpyly. These Tools exist in many cultures of the world and still remain in the traditional and professional tools. For example, Latin American instrument, made of jaw horse or ox called - jaw (Fig. 2b). In Ukraine, these instruments are known from archeological excavations in the Northern Black Sea, Western Ukraine and Kyiv region and dating from the III-II millennium BC. Known as Ancient slavic scrapers XII century. They are found by Polish archaeologists in cities Hnizno and Opole (Poland). From ethnographic sources that in many nations scrapers connected with marriage and funeral rituals. However, the funeral rites the instrument did not symbol of mourning, its main purpose was to ensure the future of revival. In marriage ceremonies it symbolized strength and fertility. In the North American Indians preserved the legend of the origin skrebel. According to this legend, once lived a beautiful girl, and many of the guys wanted to marry her, but did not pay Beauty attention to them. Then the guys approached the sorcerer. He did shkrebla and ordered the boys to sing and dance in front of the girl in their accompaniment. This attracted the attention of the girl and she chose among dancing most skilled guys in the game, who became her husband [11; 37]. Perhaps in folk Ukrainian distant memory preserved mention of the ancient wedding ritual instrument, which sometimes become a thing household use - ruble and rocking, as evidenced by findings Slavic medieval skrebel from Poland. These subjects like music instruments used in the middle of the twentieth century. On the third day of the wedding when musicians are No guests begin to sing dance tunes (»playing under the tongue») and ruble and rocking function accompanying instrument [9; 46]. At the early stage of human development by the most effective power of influence were so called hudilky, howler, tjurunga, which began to be used in the late Paleolithic. These tools have different shapes and sizes and were manufactured from wood and bone. Copy howler archaeologists found in Late Paleolithic settlement Mezhyrich. He carved tusk from a wide plate mammoth (Fig. 3a). At the tops of the narrow yet still visible zaloschennya of rope. By a rope howler quickly turned it over your head. His sound could increase or degrade, changing the speed of rotation. Another form of howler as podovhuvatoyi ornamented plate with a hole for the strap found in Paleolithic parked in Mizyn. Howler (or tjurunga) is one of the oldest instruments world. Its function - ritual. Roaring equated with magical totems voices of ancestors and spirits. Quite interesting scene depicted in the howler of Late Paleolithic in France, Raymondeni. It shows a time- eating totem buffalo. Belly animal totem ancient people believed that in this way they gain strength and other qualities of the totem. This ritual has numerous ethnographic analogy for the peoples of Eurasia. In particular, the »holy bear» Siberia Khanty and Mansi. During Holidays killed the bear, which was considered totem ancestors ate their flesh, sang folk songs and dance, imitating movements bear, bear wearing a mask and his skin. Doba Chalcolithic (IV-III mill.) Dating from the noise, percussion and wind instruments belonging to Tripoli culture. In this day there is noise tool »kalataltse» in the form eggs with balls inside, as well as in the form of miniature amphorae, inside which were small stones. Ovate kalataltsya known in many archaeological cultures on the territory of Ukraine and later periods. These noise instruments were considered amulets and had cult-magic value and symbolized renewal of nature [10; 97]. Celebration egg-associated with kalataltsya spring revival of the sun, and hence the resurgence of life. That is why they are often found in the graves. Kalataltsya Bronze Age (XI-IX BC.) In the form of a bird from clay balls inside often are in Western Ukraine. The researchers believe their attributes agrarian rituals cycle. As the birds could be in heaven and move the earth, they also embodied Heaven and Earth relationship and were related to the other world [8; 497]. So as kalataltse Birds often found in graves. They symbolize the transition in the vortex where the pershozemlya where it grows pershoderevo - pradub and where the inhabitants are eternal pershoboh - Reed [5; 219]. Ago the return of spring with birds Vyriy meant a revival, a return to life. Researchers believe that kalataltsya could accompany ritual course, during which they sang freckles. Unexplored problem is instrumental musical culture Trypillians. Tripoli Civilization Ukraine (in Moldova and Romania known Kruten) is the most distinctive phenomenon in the history of agricultural societies of Europe. Among the sacred ceramic tripol complexes were able to identify three different types of drums. They are one of the oldest instruments that for thousands of years in almost unchanged exist in many traditional toolkit nations. Therefore involved reconstruction tripol tools similar both existing until now, and archaeological counterparts from other cultures that clearly identified as drums. By these analogies are three types of drums tripol - 1) in the shape of an hourglass, 2) goblet and 3) cone (Fig. 4 a, b, c) [4; 91-93]. It was possible to make a copy trypillya drum IV millennium BC. E. e., which belongs to a type of cone (Fig. 4 a). It found near the village. Gorodnitsa (Ivano-Frankivsk region.). Experiments on and variations of mounting tension membrane and lacing it in different ways shell show that membrane tension system, used on this instrument (lacing) is logical and quite original. Using stuck performances and »ears» at the bottom Corps achieved uniform tension over the entire area of the membrane. In Trypillians there were also woodwinds. Among survived clay figurines the image of men playing the wind instruments such pipes (Fig. 5a). How can conclusion of the images, these tools have a considerable length. Perhaps they were made of wood obmotuvalys and bark, which is depicted in the form of transverse strips. These wooden folk pipes there are still traditional Ukrainian toolkit. Manufacturing technology similar instruments has not changed for centuries. These pipes are made of cut desired shape and the length of the piece of wood that longitudina split into two parts. In each of them hollow gutter, and then connect the two parts of boiled bark winding spiral. In many nations pipes as horn and bone, always associated with male power and fertility solar cults. Pretty sharp and powerful sound of these instruments identified with votes zoomorphic gods (eg, voice of God the Bull). Perhaps Trypilians used in pipes rituals dedicated to the cult of the bull [2; 100-102]. Another wind instrument that existed in the musical culture of Ukraine during the Neolithic –many pipe bone flute, so-called »Pan Flute» (Fig. 5 b, c). As we know, no ancient mythology that connects the origin of many pipe flute with the Greek god of shepherds, Pan, or later legends and legends do not explain the time and place of origin of the instrument. The discovery of a flute one of the graves burial Mariupol (Azov) determine the remoteness of this instrument, which dates back to the end of the third millennium BC. This tool is made from bird bones, consisting of eight tubes of different sizes (from 5 to 12 cm). These flutes end of the third millennium BC. E. e. also found in burials near cities and Yevpatoria in Crimea Krasnoperekopsk and in Luhansk, Donetsk and Kharkiv region. Many tube »Pan flute» Bronze Age (second millennium BC.) Archaeologists often are in western Ukraine. These tools, unlike the previous ones, composed mostly only 5-6 tubes. The most interesting tool for the decoration of the burial near the village. Gurevich in Volyn. Bone flutes have a tube of hollow cross from smooth edges that give them a look of corrugated. Many tube flute with five tubes also known from archaeological finds in Dnipropetrovsk and Luhansk region. It is interesting that these burial tubes are not always in line. The fact that not all lots tube flute were reinforced necessarily together. In traditional instrumental Ukrainian culture still exists tool, called kuvytzy (kuvychky). They usually have 2 to 5 are not connected other tubes of different lengths. At the funeral of the second millennium BC. Lugansk region, along with tool type kuvytzy preserved miniature clay pot with pebbles-kalataltse inside. Obviously, the buried man was a musician and played the wind instruments in a rhythmic accompaniment kalataltsya- vessel. Tradition simultaneous execution of one person tunes on the flute (left hand) under the accompaniment of rhythmic noise or percussion tool, which kept while playing right hand, until now known only from medieval images, as well as traditional national performance around the world. Thus, the genesis of this performance tradition in Ukraine can be dated to the second millennium BC. as the existence of the instrument kuvytzy. For written information about this instrument belonging to the Slavs of Kievan Rus. A Ukrainian national origin svyril tool (the so-called Pan Flute) can be dated even earlier time - the third millennium BC. Kuvytzy Bronze Age (II millennium BC. E. E.) Are also known from excavations near the village. Burr Rivne region. This instrument consisted of four tubes found in and burial of women. In this regard attract attention are the famous Ukrainian ethnologist M. Sumtsov information. In the village. Kosh on Cherkasy late nineteenth century. Spring girls and young women were divided into three or four groups. In the first of them, each woman had four pipes in the second - three, in the third - two, in the fourth - one by one. So they went separate groups of village. Ethnologists believe that the ensemble playing was associated with some very ancient ceremony which took place in the spring [9; 203]. Thus, the study of ancient musical instruments of Ukraine has taken the first steps.The following information about the article Stone Age musical instruments - bronze from Ukraine represent a small share of the richest archaeological »musical» material that needs comprehensive study. Usually the data found during the excavation are published in Musical Instruments professional publications and archaeological remains largely ignored and instrumentoznavtsiv Researchers have long musical culture of Ukraine. Even most of the materials which archaeologists determine unexplained appointment as objects remain unidentified, settling in archaeological archives and repositories. Therefore, a thorough reconstruction of the deep reservoir of musical instruments layers of ancient culture Ukraine needs a professional approach and comprehensive instrumentoznavchoho study, which involved worldwide new branch of musicology - musical archeology.

References 1. Bybykov SN Drevneyshyy muzыkalnыy complex of mammoth bones IZ / SN Bybykov. - K.: Science. opinion, 1981. - 107 p. 2. Burda N. Sacral world Trypillya civilization / N. Burda. - K.: Our Time, 2008. - 296 p. 3. Eremenko KA Music from glacial period to Century Electronics / KA Eremenko. - Moscow: Sov. Composite., 1991. - Kn. 1. - P. 53-107. 4. Oleinik O. K Question Reconstruction and typology membranofonы Trypolskoy civilization era эneolyta / O. Olejnik // Questions ynstrumentovedenyya: Sat. articles and materials. - St. Petersburg: RYYY, 2014 - Vol. 9. - P. 90-94. 5. Oshurkevych A. Semantics Vyriy in ethno-cultural traditions of Polissya / O. Oshurkevych // Past and modern Volyn and Polissya: an end to the turn of the millennium: H materials science. Conf. - Lutsk Nadstyr'ya, 2002. - S. 219-221. 6. B. Kosmohonyya fishermen and Mythology zemledeltsev эneolyta / B fishermen // Sov. archeology. - 1965. - № 2. - P. 13-33. 7. V. Sidorov decoy - muzыkalnыy tools era neolyta / V. Sidorov // People's muzыkalnыe ynstrumentы and instrumental music. - Moscow: Sov. Composite., 1987. - Charles IV - S. 157-163. 8. Woodrow Wilson N. Clay birds in the beliefs and art / N. Woodrow Wilson, G. Okhrimenko //Sketches of ancient culture Volyn. - Lutsk, Volyn. region. printing, 2006. - S. 492-498. 9. L. Cherkassky Ukrainian folk musical instruments / LM Cherkassy. - K: Engineering, 2003. - 262 p. 10. Shovkoplyas GM Ancient Eggs (from the collection of the State Historical Museum SSR) / GM Shovkoplyas // Archaeology Republic. mizhvid. Coll. - K.: Science. opinion, 1980. - Vol. 35. - P. 92-98. 11. Sachs C. Historia instrumentów muzycznych / C. Sachs. - Warszawa: PWN, 1975. - 556 s.

Summary We study a musical instrument that during millennia existed on the territory of ancient Ukraine. Different types of wind and percussion instruments of the Stone Age - Bronze Age, discovered in archaeological excavations. Established analogs that still exist in traditional Instrumentation different nations. Keywords: Paleolithic era - bronze Ukraine, musical archeology, whistle, flute, bahatotrubkovi flute, scraping idiofony, Trypillia drums.

Summary A. Olijnyk n the question of paleolithic - bronze musical instrument reconstruction within the territory of Ukraine In this article the musical instruments that over millennia existed on the territory of ancient Ukraine. Based on the analysis of various sources and only a few presently known research the author reveals the specific conditions of its origin and historical existence; Comparative characteristics of musical instruments that exist in different regions of Ukraine and the then European continent, found their functionality and possible role in the contemporary cultural rituals and ritual practice. Different types of wind and percussion instruments of the Stone Age - Bronze Age discovered in archaeological excavations, including three flutes XVII, XII and XV millennia BC, including many pipe bone flute, reveals their types, purpose and an attempt to identify their evolution signs and find analogues exist in the following historical periods and cultural development of contemporary society. The attention is focused on other instruments - kuvytzy Bronze Age (II millennium BC) found on the territory of Rivne region, based on an analysis which was suggested by the author of the original female part in the ritual, which existed in the aforementioned period. Author restored the scale of these tools for the first time an attempt to hear their sound timbre. Established analogues individual instruments and still exist in the traditional toolkit of different nations. The author emphasizes that information on archaeological finds of musical instruments, unfortunately, published mostly in archaeological journals and largely ignored specialists instrumentoznavstva and musicology. The attention is focused on individual samples and wind musical instruments, including a drum trypillya who managed to reconstruct the author, and an attempt to identify the forms based on their possible appointment to the then existing cults. Tripoli civilization Ukraine (in Moldova and Romania known Kruten) is the most original thing in the history of agricultural societies of Europe. Among tripol sacred ceramic complexes were able to identify three different types of drums. They are one of the oldest instruments for thousands of years in almost unchanged exist in the traditional toolkit of many nations. Therefore involved reconstruction tripol tools analogy as existing now, and archaeological counterparts from other cultures that clearly identified as drums. For these analogies are three types tripol drums - an hourglass, goblet and cone. And is considered a type of musical instruments as kalataltsya Bronze Age (XI-IX century BC), it is in this day emerged noise instrument in the form of eggs with balls inside, as well as in the form of miniature amphorae, within which are tiny egg-shaped stones known kalataltsya many archaeological cultures on the territory of Ukraine and in later periods. These noise instruments were considered amulets, and had cultmagic value and symbolized renewal of nature. The text of intelligence are visual examples of tools that allows for many professional opinions musicologists. At the same time, according to intelligence, yet most of the material that archaeologists determine how things unexplained purpose, stresses the author of this scientific exploration, are not identified, settling in archaeological archives and repositories and is not known to researchers and archeology, and instrumentoznavstva or musicology in general. Therefore, a thorough reconstruction of the reservoir musical instruments underlying layers of ancient culture Ukraine needs further instrumentoznavchoho professional approach and comprehensive research, which deals with worldwide new branch Musicology – Musical Archaeology. Key words: Paleolithic era – bronze Ukraine, musical archeology, whistle flute, flute lots tube, scraper idiophone, Trypillia drums, cultural and artistic practices, identification, musical instruments, research, study trends, music archeography. reconstruction era musical ynstrumentaryya paleolyta -

Annotation Bronze with the territory of Ukraine Yssleduetsya muzыkalnыy ynstrumentaryy, suschestvovavshyy on protyazhenyy on tгsyacheletyy ancient territory of Ukraine. Analyzyruyutsya Various Types of tools duhovыh and udarnыh paleolyta period - Bronze, obnaruzhennыe IN TIME arheolohycheskyh raskopok. S Ustanovlen analogs kotorыe at present in suschestvuyut TIME DIFFERENT Traditionally ynstrumentaryy peoples of the world. Keywords: paleolyta era - Bronze Ukraine, muzыkalnaya archeology, svystkovыe fleyti mnohotrubkovie fleyti, skrebkovыe ydyofonы, trypolskye drums.

Received 11/12/2014

UDC 78.52 V.I. Zenkov

CENTERS VERTICAL WAY REMAND

Middle Ages – Baroque In the Eastern European dimension The study of medieval instruments peoples of Eastern Europe is impossible without appeal emphasis on group-stringed plucked particular tsytropodibnyh instruments, which and hymnals are a separate type of vertical East harp detention. To the study of these instruments is necessary to attract written analysis, lexical sources and iconographic material the Middle Ages, the Renaissance and the Baroque, originating from territories Eastern Europe. Written sources of Kievan Rus' (epic, spiritual and secular literature, glossaries, azbukovnyky) are full of references to a tool called a harp, Psalter (Dictionary Novgorod list Helmsman books XI., Sensibly Psalm XI century. Instructions Metropolitan Daniel, works of Cyril Turov, XII century. etc.). Description tsytropodibnyh tools in vocabulary and azbukovnykah days Middle Ages, Renaissance and Baroque marked polysemy terminology interaction Slavic ethnic term harp with other pan (»Psalms», »sytara»). In written monuments XVI-XVII centuries. encounter the following definitions harp as the instruments, »Husla - harp, lute (skrebenky); harps - skrypytsya; harp - harp or zither »[6; 145-191]. Instrumental in terms of old and ancient chronicles dictionary word »Hudyeniye» meant instrumental playing the harp, Cinyras, psaltery. In some cases, tools »Ps» means the terms »harp, zither,» identified with other instrument pisnevets (Fig. 3g). Often old reference books mixed range of different types Chordophone (Lira, skrypytsya, harps Psalter). Terminology polysemy was a typical phenomenon for orhanolohichnoyi opinions Slavic Middle Ages, the Renaissance and the Baroque, when enough approximate description of the tool is not accompanied by his picture. The term Psalter (as the name of a musical instrument) appeared in medieval Europe VIIIXI Art. under the influence of Greek and comes from the Greek word «psallein», which means jerk fingers »[15; 383], that characterizes the way to play the instrument by zaschypuvannya strings. This way of playing ancient Greek writers associated with the Greek plucked string mahadis instruments / harp (Apolodor, Athens) tryhonon (Pseudo-Aristotel1) and psaltery (Pollux). Although the testimony of Aristotle and Plato, psaltery were not typical Greek music (and orhaniky2) instruments infiltrated with Iranian and Arab worlds (eve, santir) in ancient organic matter these tools united in a separate subgroup Chordophone, which had a large number of strings (40) and pure digital audio extraction technique [5, 29]. Therefore, in the title tool »Psalter» since the days of ancient traditions, which later spread throughout Medieval Europe was stopped not determine the title of the tool as a way of game it - by sliding on the strings or zaschypuvannya. Psalter in Greek organic matter been considered flat harp strings which stretched along the flat or slightly curved surface of the deck. During Middle Ages hymnals are most common tools [7]. There are two ways of holding them during the game - Vertical (Fig. 1a, b) and Horizontal (Fig. 1 B). In European medieval iconographic sources recorded three kinds of forms Psalm vertical hold - triangular (Fig. 1 b, 2 b, 3) (it also belongs krylopodibna3); square or rectangular (Fig. 1 and 2 a) and trapezoidal (Fig. 2g). However, Researchers believe the oldest kind of triangular shape in the form of the Greek letter »delta» - Δ or λ, I. Seville first described (Fig. 2b). Separately, you can select the Slavic (Bohemian davnocheskyy or) kind of bagpipe called »Bohemian wing» (Germ. - »Vöhmische flugel») - ethnic name, known since XIII., who, in fact, is a kind of harp pterygium vertical holding with a rounded top of the housing. Western European Medieval Instruments (IX-XII) have a flat body and a small number of strings (5 to 13). Them vertical peculiar way of holding, preferably at an angle (rarely - in parallel) to the body artist. To avoid polysemy Slavic names such tools vertical harp holding appropriate to use the term »Psalter», thereby isolating this type of area Horizontal detained sackbut, psaltery (V. Povetkin period) [8] or helmet harp (K. Vertkov term, Fig. 1) the [1; 275-276]. For existing iconographic material can be identified several methods of sound production on the holding vertical triangular psaltery - 1) fingers one hand (Fig. 1a, b, 2 a, 3 a), 2) with a single plectrum (Fig. 2b), 3) two plectrum (Fig. 2g) 4) two hands (when long and short strings aschypuvalysya simultaneously on both sides of the body) (Fig. 2b; 3 b, c). In one hand was holding musician plectrum, fingers zaschypuyuchy another string (Fig. 3 B), or one same position with both hands without a plectrum (Fig. 3 B). Instead, he began to use natural and then artificial nails fixed to the tips paltsiv4. Formation of the ways of sound and style of play is always a lengthy process. Every a particular ethnic environment keeping tools and methods of sound production on it is stable tradition that is passed from generation to generation. In particular, triangular (helmet) harp Russians and peoples of Eastern Europe (Mari, Cheremis Volga), which, in fact, the Psalms, as opposed to uniform instruments Byzantine and Western traditions hold in horizontal position (Fig. 1 B). The other is also a way of sound (when both hands superimposed on top of the horizontally (kneeling) tool vydobuvayuchy sound »Clash». Orhanolohiyi generally accepted for a long time was considered concluded O. Famintsyna borrowing sackbut, psaltery helmet peoples of the Russian Volga [10; 177-314]. This same opinion and K. Vertkov [2; 73]. Developing the idea Famintsyna, orhanoloh concluded that this type of ancient tool could belong to the Slavic tribes settled in the upper reaches of the Volga and which adopted its autochthonous ethnic groups of the Volga [2; 73]. The opposite opinion orhanoloh-R. Halayska medievalist, citing her that helmet image sackbut (horizontal holding) occur only in the church books content. By linking this fact with missionary the activities of the Russian Orthodox Church in Eastern Europe, as well as the phenomenon of buffoons, which could adopt the instrument of non-Slavic peoples of the Volga (Finno-Ugric, tyurko-Tatar). The main argument, indicating that the Russian loan of this kind of harp on According to the author, is the fact that none of the historical and ethnographic sources are confirming participation helmet harp in ritual and magical rituals Eastern Slavs. Instead, the peoples of the Volga this type of harp until the twentieth century. used during prayers in the sacred groves in burial rituals and other rituals [4; 30-31]. Research on religious facts abound where for the conversion pagans to Christianity missionaries used involving the indigenous elements pagan cults and rituals of their ritual paraphernalia to Christian worship (to which also included musical instruments as a mandatory component of ritual). In this regard rather Indicative picture musician with the letter »D», »T» with a handwritten Psalter XIV., which belongs to clearly non-Slavic ethnic type (Fig. 1 B). Iconographic material featuring the triangular psaltery, known from the territories of the Western (Latin) Europe and the Byzantine Empire, dating back to the beginning of the VIII. Eastern European (Slavic) image vertically detained triangular psaltery known only from the XI-XII centuries. (Fig. 3a, b, d). But surviving written sources end of VI-XVI centuries certifying the existence of Slavic environment under triangular psaltery various Latin and Slavic names: psalterium, tsitara, cithara barbarica, sitara RUSK, zither, zhaltazh (żałtarz), harp, pesnevetsъ, zhalnik (żalnik), zhelnik (żelnik), slavnik (slavnik). I. Seville (approximately 600 g.) In »Etymology» refers to the tool in the form Greek letter »delta», which used the northern nations, and called his cithara barbarica, tsitara barbaric [14; 40]. This is the earliest mention of tsytropodibnyy tool triangular shape, was common among pagans. Polish-orhanoloh medievalist J. Poplavska suggests that among Isidore of Seville mentioned peoples could be and Slavs [18; 29]. Noting this fact, the did not further develop this idea. Important for us information contained in a letter from an unknown person to the abbot of Saint Hallenskoho Monastery (m. St. Gallen, in present. Switzerland), dating from the first half of the ninth century. passed through Hermenryka Avhinskoho or a monk from Elvahenu that city. Vyurtenberh (modern. Germany). In It talks about Slavic stringed instrument, which the author calls psalteriumom letter, while noting that it is the local Slavs (that is, those who settled in Germany -IZ) accompany themselves while dancing [13; 142-144, 18; 143]. The writer notes that this tool had eight strings (!). Determining the type of tool it (»psalterium») and, in particular, an indication of the amount string (8) may be able to assist in clarifying still not determined the type Slavic Chordophone that among the instruments of the Eastern Slavs (clearings) in the early tenth century. Ibn mentioned in Rust »Book of precious treasures»: »They (the Slavs - IZ) have different types of musical instruments. They ...lutes there are eight (! - IZ) strings »[18; 143]. Al-Bakr in the eleventh century. also noted that the Eastern Slavs (clearings Kievan Rus) was common 8-stringed instrument, saying that he had a flat back part of the body. This design feature of the tool is a sign, typical morphology Psalter and harp, lute and instead, the more the Arab al-ud. The fact that Ibn Rust on the definition Slavic Tool used the Arabic lute called - «al-beats» (where, in fact, originate discrepancies in determining the type of instrument) should not cause reservations. After all, not having deep musical knowledge, Ibn Rust used the most similar and popular at that time, the Arab world's own ethnic names analog musical instrument - the number strun5, way detention (likely with a vertical slope, not horizontally typical detained personnel Arab tsytropodibnyh instruments - santira and Eve) and the way of sound (zaschypuvannya simultaneously on both sides of casing strings fingers of both hands at the top and middle of the body, as vertically detained dulcimer). Other Arab travelers - Hardizi, al-Marvaziy and anonymous author of the treatise »Hudud al-alam» - indicate that the Slavic instruments are unparalleled in Muslim countries and unknown in the Arab world [18; 62]. For us it is important the fact that references to the strings Slavs Ibn Dusty leads in the records made by him during his stay in Cuiaba (Kiev), which dwelt early medieval glade. Thus, written sources IX-XI centuries show that both toolboxes Western (letter to Abbe of St. Gallen, IX.) and Kyiv Slavonic tribes (Ibn willing, beg. tenth century. al Bakr, XI.) the ninth and tenth centuries. for three centuries was common type of dulcimer instrument with a flat part of underwear Corps and eight strings, which, apparently, was detained vertical tool. The unique images triangular psaltery with eight strings inserted in relief musical horn, Oliphant (Fig. 3a) 6. It is believed that the horn that belonged to Prince, produced and ozdobyly Kyiv masters in XI-XII centuries. [16; 64], as reproduced in the plot of his frieze could enter the Psalter instruments musicians of the time. Archaeological findings horn, Oliphant gives reason to believe that among the »northern people» mentioned in the »Etymologies» Isidore of Seville, which was common string instrument in the form of the letter »delta» Kiev were Slavs (meadow medieval chronicles). Medieval Slavic hymnals in Latin written sources could appear during different names. In West Slavic world, in particular, on the territory of medieval Pomerania (modern Poland), triangular Psalter appears under the name psałterz, żołterz, żałtarz, and in medieval Bohemia (now. Czech Republic) - žaltāž, slavnik7. In the most common language davnopolskiy term żałtarz (Florian Psalter XIV century., Bible Reina Sofia, »Vaclav Prayer»). Etymology of this Today the term has not been fully elucidated, but interesting is the root word »żał», that Polish means »zhalóba», »Sorry», »complaint». In davnopolskiy language in XV-XVI centuries. More operated verb »ożelac» - »mourn,» akin to the Czech żeleti, żal, żel, żałoba, and Slavonic, church »zhelyeti», »zhelya», »Zhel» [12; 661]. Other root meaning »żał» preserved in Polish noun żalnik - cemetery and the ancient Polish translations of Aesop noun »żałoba» translated as »monument» (Tombstone). But ancient etymology of the word »Żał» should look in language Lusatian Slavs, where it is synonymous to the word »żar» and associated. The early cremation rite [12; 661]. According to A. Bruckner, Polish words żałtarz, psałterz, żalm (last - in the Florian Psalter) is derived from the Greek »psalm» and related German Salm, Salter (ie »psalm» omission of initial sound »r»). In West Slavic dictionaries later time the word »zhaltazh» disappears. Thus, it is possible that the name (żałtarz, žaltāž) kept an old ritual function string tool associated with ritual mourning the dead, for further indicates its connection with ritual cremation. The earliest images of Slavic triangular psaltery preserved in Plock Bible (m. Plock, Poland, the second quarter of the XII century.). D. Poplavska believes that depicted tool could be well known in Poland. The author also draws attention to the fact that under another name - zither, submitted medieval chronicler Gallus Anonymus in his »Chronicle» (XII century.), must be understood triangular Psalter [18; 29]. Psalm triangular shape as depicted on the mural Chapel St.Trinity in Lublin (beginning. XV century.) (Fig. 1 B). This tool is depicted in his »oldest» form, which outlines resembling the letter »delta». Interestingly, led the work on the painting of the castle chapel Holy Trinity Ukrainian painter Andrew, a native Galician-Volyn land and apparently well known fresco of St. Sophia, and therefore reproduced on the mural near Lublin composition ensemble of musicians that surround the figure of Jesus Christ). Art critic V. Sventsitskoho finds the master Andrew was somewhat connected with Kiev creative environment [9; 216-227]. Doba Polish King Casimir the Great (XIV) dated reference to a tool called »Sambuca» which orhanoloh V. Kaminsky interpreted as a type of Polish pramazanok plucked type (ie liropodibni harp - IZ) [14; 57]. A. Polinskyy considers how a harp instrument Sambuca [17; 36], but it could well also be psalterium, similar in form to the medieval harp triangular shape. In Czech dictionary »Bohemař» (»Bohemarius», XIII.) Psalterium word interpreted as žaltāž. This the name also appears in the «Chronicle Zbraslavskiy» XIV century. [18; 30], and the image of the tool Contained in the Czech Velyslavoviy Bible (1340). Zhaltazh is triangular in shape (or equilateral trapezoid) with cut corners (medieval instrument, known as the »pig's snout»). Time »Zhaltazh» in Polish sources occurs much less frequently than »psaltezh» [19; 78], which may indicate before its origin. In East sources to denote Greek name tool »Psalter» was used rarely, much more often were used ethnic terms - hously, pesnytsa, pesnevytsa, pesnevets. In particular, harp referred Polish chronicler Jan Dlugosz as a tool was part of the ensemble Aldona Queen (Anne), wife of Casimir the Great, Grand daughter Duke of Lithuania Gediminas (1325-1329 gg.). His love of music she issued from her homeland - Lithuania. It is possible that individual performers-instrumentalists come together with Anna [17; 36, 37]. Time pesnevets designated harp like instrument with a triangular body attached to short melody strings (like bandura) and carved on the bottom for support vertical holding (on knees) during the game (Fig. 3 d). Thus, the analyzed written and iconographic materials reveal new aspects of the study East Slavic ancient harp like instruments. In Kyiv Rus and lands were under its ideological and cultural influence, there are several forms of vertical psalteries holding, including triangular and trapezoidal undergone further development in subsequent periods. These varieties referred to under different names in ancient written sources, belonged to old Slavic instrumental tradition. Derived from the triangular psaltery, harp was similar pisnevets tool (XII-XVI centuries.), which is in the process of evolution became the prototype for the genetic source the formation of such traditional Ukrainian harp lute – bandura.

Notices 1 Pseudo-Aristotle (Problemata, XIX, 23) indicates the same length strings and on psaltery celebrates its triangular shape [15, p. 383]. 2 Organic - Greek science of musical instruments. 3 K. Sachs believes pterygium kind of triangular shape. 4 The last way to play was the basis for the manner of playing the bandura at its archaic, Chernihiv way detention. 5 At the time of Ibn al Rust on udah there 4-5 strings tsytropodibnyy eve had over 30 strings [3; 76-77]. 6 similar musical horn, archaeologists found in the burial tomb of the Black Prince in the near Chernihiv [11; 26]. 7 Last name also points to proslavnu function tool. References 1. Vertkov C. People's muzыkalnыe ynstrumentы n / AK Vertkov. - M. Music, 1975. -280 pp. 2. Vertkov C. Types Russians harp / K. Vertkov // Slavic Musical Folklore. - Moscow; AL: Sov. Composite., 1972. - P. 275-286. 3. Vыzho TS Muzыkalnыe Average ynstrumentы Asia. Historic Essays / TS Vыzho. - M. Music, 1980. - 191 p. 4. Halayskaya RB Experience Studies drevnerusskyh harp in connection with the Finno-uhorskoy problematykoy / RB Halayskaya Finno-Ugric // Musical Folklore and vzaymosvyazy s sosednymy cultures. - Tallinn, Eesti raamat, 1980. - P. 30-31. 5. Hertsman EV Drevnehrecheskaya orhanyka (the monuments of pysmennыm) / EV Hertsman // Materials Encyclopaedias muzыkalnыh of tools for the peoples of the world. - S-Pb: RYYY Publishing House, 1998. - Vol. I. - P. 16-35. 6. Lexicon slovenoroskyy Pamva Berynda / entry. Art. V. Nimchuka. - K.: Izdatel'stvo USSR, 1961. - XXXVI; 272 pp. 7. Muzыkalnыe ynstrumentы world: yllyustratyvnaya Encyclopedia 4000 yllyustratsyy / lane. s English. TV Lykhach. - Minsk: Potpourri, 2001. - 320 p. ; Ref. 8. Povetkyn VI Riddle harp-psaltыrya / VI Povetkyn // Chelo. - 1997. - № 1 (10). - S. 9-11. 9. Sventsitskoho B. Milestones Ukrainian painting XVI-XVIII centuries. and reflection phenomena of musical culture in paintings / V. Sventsitskoho // Ukrainian musicology. - K.: Music. Ukraine, 1971. - Vol. 6. - P. 216-227. 10. Famyntsыn A. harp. Russian People's muzыkalnыy tools / AS Famyntsыn // A. Famyntsыn. Skomorokhy to Rus / AS Famyntsыn. - SPb. : Aletheia, 1995. - P. 177-314. 11. Fyndeyzen N. Essays on the history of Music in Russia with drevneyshyh of time until the end of the eighteenth century / N. Fyndeyzen. - Moscow; AL: Gos. Muzsektor Publishing House, 1928. - Vol. I-III. - 376 p. 12. Brückner A. Slownik etymologiczny języka polskiego / Wstep Z. Klemensiewicza / A. Brückner. - Warszawa: Wildza powszechna, 1957. - 805 s. 13. Feicht H. Studia nad muzyką polskiego Šredniowiecza. Seria: Studia muzykologica. - T. 2 / H. Feicht. - Kraków: PWM, 1975. - 400 s. 14. Kamiński W. Instrumenty muzyczne na ziemiach polskich (Zarys problematyk rozwojowych) / W. Kamiński. - Warszawa: PWM, 1977. - 177 s., Il. 15. Kinnon J.-W. Psaltery / J. Kinnon, M. Remmont // The New Grove Dictionary of Music and Musicians. - London: Macmillan, 1980. - Vol. 15. Playford - Reidt. - P. 382-387. 16. Kozak L. Rotta: z badań nad šredniowieczną harpą-psalterium / Ł. Kozak. - Muzyka. - 2005. - Number 4 (199). - S. 45-66. 17. Poliński A. Dzieje muzyki polskiej w zarysie. Seria: Nauka i sztuka / A. Poliński. - T. VII. - Warszawa: E. Wende and Spółka, 1907. - 280 s. 18. Popławska D. Šredniowieczne instrumenty muzyczne typu chordofonów na ziemiach Polski, Czech I Rusi / D. Popławska. - Warszawa: Ošrodek konserwacii zabytków, 1995. - 208 s. 19. Szydłowska-Cegłowa B.-Z. Staropolskie nazewnictwo instrumentów muzycznych / B. Szydłowska-Cegłowa. - Wrocław: i.j. Ossolineum, 1977. - 288 s.

Summary Studied harp like instruments detention vertical (psaltery and harp), which Instrumentation peoples existed in Eastern Europe during the XI-XVIII centuries .; singled triangular (big and small sizes), rectangular and trapezoidal shape. Violated question terminological polysemy old Slavic sources the marking different types harps. Because of Comparative analysis of the lexicographic and iconographic sources proved differences ways of keeping the consistency of Slavic and other instruments (Finno-Ugric and tyurko-Tatar) nations. It traces the origins of vertical manner similar holding harp instruments as signs of sustainable national traditions, including sackbut, psaltery Slavic that reaches Kievan Rus. Keywords: harp, Psalter, tsytropodibni tools vertical holding.

Summary Zinkiv I. Zither of vertical method of holding of time of middle Ages – Baroque in the east Europe measuring In this article the musical instruments that over millennia existed on the territory of ancient Ukraine. Based on the analysis of various sources and only a few presently known research the author reveals the specific conditions of its origin and historical existence; Comparative characteristics of musical instruments that exist in different regions of Ukraine and the then European continent, found their functionality and possible role in the contemporary cultural rituals and ritual practice. Different types of wind and percussion instruments of the Stone Age - Bronze Age discovered in archaeological excavations, including three flutes XVII, XII and XV millennia BC, including many pipe bone flute, reveals their types, purpose and an attempt to identify their evolution signs and find analogues exist in the following historical periods and cultural development of contemporary society. The attention is focused on other instruments - kuvytzy Bronze Age (II millennium BC) found on the territory of Rivne region, based on an analysis which was suggested by the author of the original female part in the ritual, which existed in the aforementioned period. Author restored the scale of these tools for the first time an attempt to hear their sound timbre. Established analogues individual instruments and still exist in the traditional toolkit of different nations. The author emphasizes that information on archaeological finds of musical instruments, unfortunately, published mostly in archaeological journals and largely ignored specialists instrumentoznavstva and musicology. The attention is focused on individual samples and wind musical instruments, including a drum trypillya who managed to reconstruct the author, and an attempt to identify the forms based on their possible appointment to the then existing cults. Tripoli civilization Ukraine (in Moldova and Romania known Kruten) is the most original thing in the history of agricultural societies of Europe. Among tripol sacred ceramic complexes were able to identify three different types of drums. They are one of the oldest instruments for thousands of years in almost unchanged exist in the traditional toolkit of many nations. Therefore involved reconstruction tripol tools analogy as existing now, and archaeological counterparts from other cultures that clearly identified as drums. For these analogies are three types tripol drums – an hourglass, goblet and cone. And is considered a type of musical instruments as kalataltsya Bronze Age (XI-IX century BC), it is in this day emerged noise instrument in the form of eggs with balls inside, as well as in the form of miniature amphorae, within which are tiny egg-shaped stones known kalataltsya many archaeological cultures on the territory of Ukraine and in later periods. These noise instruments were considered amulets, and had cultmagic value and symbolized renewal of nature. The text of intelligence are visual examples of tools that allows for many professional opinions musicologists. At the same time, according to intelligence, yet most of the material that archaeologists determine how things unexplained purpose, stresses the author of this scientific exploration, are not identified, settling in archaeological archives and repositories and is not known to researchers and archeology, and instrumentoznavstva or musicology in general. Therefore, a thorough reconstruction of the reservoir musical instruments underlying layers of ancient culture Ukraine needs further instrumentoznavchoho professional approach and comprehensive research, which deals with worldwide new branch Musicology – Musical Archaeology. Key words: Paleolithic era – bronze Ukraine, musical archeology, whistle flute, flute lots tube, scraper idiophone, Trypillia drums, cultural and artistic practices, identification, musical instruments, research, study trends, music archeography.

UDK.78.481 Chen Nanpu

THE QUESTION CHINESE-CENTRAL ASIAN MUSIC AND COMMUNICATION INSTRUMENTAL (BASED ON PERCUSSION INSTRUMENT)

Traditional musical instruments in China has more than 50 kinds of drums tools. It consists of both autochthonous existing in the musical culture of more than 4 thousand. years and percussion instruments that came to China as a result of intense cultural contacts that began in the early Middle Ages along the Great Silk Road. In recent decades, widespread musical archeology - science, exploring ancient musical instruments, in particular, found in Central and Central Asia. This possible to determine migration routes through ancient instruments trading caravan routes that were from East to West and vice versa. The most important in this regard is the study of musical instruments in the writings of T. Vyzho, Kibirovoyi S., W. and R. Meshkeris gardens. However, the study percussion in this context yet became the subject of a separate study that determines the relevance of raising the issue. Currently not always possible to distinguish which of the tools are purely Chinese and some of them were been introduced from outside. This is due primarily to the fact that in ancient documents, which recorded foreign »Receipt» of musical instruments, their name or transferred in Chinese transcription, or Chinese translation of the original semantic meaning, with the addition of the character »hu», which indicating their west, alien ethnic origin. Note that the term »West Region» in the former Chinese sources in Central affected, including those of Central Asia. Musical Culture ancient states of Central Asia - Horezma1 and Sohda2 had a marked influence on Chinese music and adaptation of the Central Asian instruments, including drums [5; 108]. One of the oldest membranophone that came to China from Central Asia about VII., Was dvomembrannyy drum in the shape of an hourglass, which in China is called »yaohu.» This name consists of two different characters meaning «Yao» translated as »waist» and »gu» - drum. Thus, the total value of the name of the drum - «waist drum», ie drum, which has concave shape in the middle of the chassis. Under this form of archeology stuck in his name - drum in an hourglass. In Central Asia, the earliest images of this kind known from archaeological drum excavations in Khorezm, dating from the III-IV century. [8; 32]. For the first time in the drum hourglass was found on the wall paintings Toprak Kala fortress on the territory of ancient Khorezm (Fig. 1a). Thanks to detail, carefully drawn Khorezm painter, you can find out constructive features of this tool and method tension membranes. The drum consists of two buildings conical shape, connected with narrower margins. These buildings vary in size and diameters edges that are bent membrane. This feature enables design to produce two different instrument sounds on up. In the narrowest part, at the junction, fixed two broad leather belts. Such belts fixed land membranes. Uniform tension both membranes by means of thin belts oshnuruvannya. The fresco of Toprak Kala authentically recreated way to play this instrument. Performer holds the drum in horizontal and strikes the membrane with both hands. Similarly shaped drums there is also a toolkit other Central Asian states - Sogd. At the ancient capital of the State - Marakanda (modern city. Samarkand) archaeologists discovered numerous images of musicians with drums in the shape of an hourglass, and clay figurines of musicians VII-VIII centuries. playing on them (Figure 1 b). This type of drum is mentioned in Chinese sources also called tszehu. As iconographic sources confirm it has in II- IV century. existed in the musical culture of the East Turkistan, which is now a part-Uyhurskoho3 Xinjiang Autonomous Region of China (Fig. 1 c) [3; 226]. Zhuo Nan Chinese scientist in his treatise »Information on drums tszehu» (middle of the ninth century). said: »Tszehu comes from the external [Turkestan - CH.N.] tribe of western barbarians jie, so called tszehu, ie, »tribal drums it» [10; 384]. According to V. and V. Mamonov Meshkeris expressed in the »Interaction musical cultures Tang China and neighboring countries in Central Asia »(2010), the beginning of the earliest contacts between China and Central Asian countries is at the beginning of resettlement Sogdians territory Central Asia in areas traditionally Chinese in East Turkestan is IV. BC Especially intensive interaction between musical cultures took place in the era of dynasties Sui and Tan4 when Chinese territories Sogdian colonies formed [5; 109]. The resettlement Sogdians contributed penetration of China Central Asian traditions and their musical instruments, including drum hourglass. Once in China, this has become a favorite drum tool many Chinese emperors of the Tang Dynasty. Especially for him was written 92 play. As the medievalist instrumentoznavets-Kibiryeva C, both the drum membrane tuned in pure fifths interval [4; 74]. As we know from Chinese historical chronicles, in the era of the Tang Dynasty (618-960 gg.) Rulers deliberately encouraging cultural exchanges with Central Asia, which until then had spontaneous. In the era of Sui Dynasty, from about VI. China’s emerging interest in the culture of peoples so called Western region. At that time it was compiled Sino-Turkic Dictionary; wide recognition received Turkic music and musicians, especially instrumentalists valued [10; 77]. Foreign orchestras numerical part of the palace staff, they were in the informal celebrations. Instead, official ceremonies sounded traditional tunes, performed at ancient Chinese instruments - bells, litofonah and harps. In dynastiyniy history »Suyshu» in the »Description of Music» is mentioned seven »music outlets» (ie, instrumental ensembles - CH.N.), five of which consisted of foreign musicians - people from East Turkestan and Central Asia Turpan regions, pile, Kashgar, Samarkand and Bukhara. Describing the music of these areas, the authors note that some tools come from Western region, especially stressing that they do not belong to the Chinese instruments [1; 60]. In subsequent times the number of bands in the court of the Chinese emperors changed, but Samarkand (Kang) and Bukhara (Anho) ensemble remained unchanged [2; 68]. Consisting of Samarkand ensemble authors mention flute, drums and brass plates yaohu Tunb, and Bukhara except yaohu drum, another 11 kinds of string and wind instruments. Interesting information about music Samarkand and Bukhara presented in the Chronicle »Sintanshu.» In particular, there is a description of dance »Husyuanu», accompanied by instrumental performance of the flute, lute, drum and yaohu copper plates [7; 122]. This chronicle describes outfits artists submitted information repertoire, the musicians who performed, and the content of songs and dances nature [7; 123]. During the reign of the Tang Dynasty (618-960 gg.) Music pile (District East Turkestan) had the greatest impact on musical culture of China. Especially popular was the »Drum Dance», which Kuczynski orchestras performed. At that time, music lovers of all segments of the population preferred musical instrument, which musicians play pile. It is traditional for Middle and Central Asia chotyrystrunna harp, oboe and flute. However, the most beloved of all Kuczynski instrument was the drum in the shape of an hourglass, in which rhythmic accompaniment performed songs and dances. We know that Zong Xun - one of the most powerful lords of China period, with extraordinary skill mastered playing the drum this type [10; 79]. Multiple images of performers on the drum in the shape of an hourglass known from archaeological materials discovered in China. This type is used as a drum in different compositions ensembles and large orchestras, and separately for the rhythmic accompaniment of dances (Fig. 2a). According to Chinese written sources, aroused the greatest passion dancers with drums. Performances Central Asian dancer with a drum Tang era Chinese poet Bai Juyi poem dedicated »Dancer Chacha». Dance »Chacha» called the place of origin - that ancient region located on the territory of modern Tashkent [8; 26]. This dance is performed as two young dancers that accompany himself on drums (Fig. 2b). Image dancers with drums in the shape of an hourglass often occur the frescoes; they are also known among numerous clay figurines of musicians, which archaeologists often found in the tombs of emperors and high officials and their families (Fig. 2b). The tradition of placing ceramic figurines of musicians with instruments stems from the Han period (202 BC. - 220 AD.), Suffers particularly prevalent during the reign of the Sui Dynasty (586- 618 years.) And Tang (618-960 gg.). They are an important material for studying the functioning of certain types of percussion instruments in certain periods of the history of ancient China. Clay figurines for artists drums in the shape of an hourglass appearing in the V century. preserved in Chinese iconography and in later times. But in Central Asia after the VIII. Image drum in the form hourglass disappearing from iconographic sources and in subsequent periods are not recorded among traditional instruments. They even replaced the drums up. According to legend, outstanding medium- Asian scientist and musician tenth century. al-Farabi divided drum in the shape of an hourglass two some tools - large and small upwards [9; 121]. In China, this type of drum existed later periods and was borrowed by other peoples exposed to music and Chinese instrumental culture. This Tibetan Tangut state X-XIII. That occupied territory Medieval Inner Mongolia and western areas of China as well as Korea and Japan. The shape of the hull and the design of modern Chinese drum yaohu, in addition to its name (meaning »waist»), has nothing to do with the old tool (Fig. 7). Wooden building drum in shape like a small tub, to open land which stretched membrane leather. Membranes nailed to the body in small metal studs, unlike ancient drums where tension membrane was carried out using thin belts (oshnuruvannya). To building, close to the membrane secured two metal rings silk cord, which tied to the waist drum performer. This feature yaohu location near the belt during a game is a modern interpretation of the ancient name (Yao - gu and waist - drum) that point to form the shell, but not a method of fixing a cord at the waist. Note that iconographic material VI-VIII centuries. Confirm various provisions of the instrument during the game - on his knees, a special stand on the floor, using hinges, draped neck, etc.). Drum yaohu modern form is a mandatory attribute of »Dancing with the drums »(huahu) in the Chinese province of Anhui. Multiple mentions of this dance comes from the times Ming Dynasty (1368- 1644 gg.). In northern China yaohu dance with drums in ancient times served as a signal to call the enemy to fight. Another membranophone that came to China from the West region in the IV-VI centuries., Was drum dub (Fig. 8). This kind membranophone is one of the oldest instruments. Its history is more than 5 thousands of years. Membranophone of this type for a long time, there are many nations in the toolkit Middle East, Central Asia and the Caucasus. For thousands of years it has not undergone any structural changes. These include Arabic and Armenian DAF, Uygur WCT, dub and shouhu, Uzbek and Tajik doyra and others. The earliest image of the tool known from archaeological excavations in Sumer (Mesopotamia 3000-2500 years. BC. e.), as well as rock paintings found in Central Asia (Saimaly Tash), dating from the end I millennium BC. [2; 14]. Tambourine dub a wooden building (shell) round, closed on one side membrane leather sheep. On the back side, closer to the open edge of the chassis, located in Stake a large number of metal rings. Instead, these rings sometimes use small brass plates, evenly cut fixed in the shell holes. Playing the tambourine has become extremely high level of art in the East, where practiced solo improvisation with complex rhythmic patterns. In Uzbeks, Tajiks, pamirtsiv Uighurs and, except for use in solo performance, tambourine was binding member ensembles that accompanied the performances of actors and dancers. Scenes depicting performances such ensembles from the Western region, often occur in early medieval Chinese frescoes and stone reliefs. One of Tang Dynasty tomb relief (924 p.) depicts palace ensemble consisting of 12 musicians and two dancers in Central Asian costumes (Fig. 9). Tambourine dub also served on the instrumental folk music log Yue, performed exclusively on percussion instruments (Fig. 10, b). So far, this is one of the drum basic tools Uighurs, Tajiks and Uzbeks living in compact groups in China [6; 45]. Self-sounding percussion instrument Saba ancient times there in the toolkit Uighurs, Uzbeks and Tajiks living in the Xinjiang Uygur Autonomous Region of China (Fig. 11). He consists of two wooden rods, which are attached to one or two large metal hoops They strung with small metal kilechkamy. The sound produced by the instrument several methods: rhythmic shaking, impact on bars and thumb stroke about shoulder movement and fast hands forward. In ancient times, this tool is used wandering artists, singers and monks dervishes. In Uighurs living in Kashgar area, this tool used as accompanying men to dance »Saba». Thus, the study of percussion instruments Song Dynasty period of China Tang and sheds light on ethnic syncretism of Chinese instrumental music and culture. And it is the music and instrumental phenomenon, reflecting the centuries- old interaction between musical cultures Central Asia and China. Ancient musical and instrumental traditions of Central Asia and Turkestan, that hit China in different periods of its history, includes integral part in its musical culture and is still preserved in folk instruments.

Notices 1 Khorezm - the state in Central Asia, located in the lower reaches of the district. Amu Darya. There was in VII-VI centuries. BC 2 Sogd (Sogdiana) - a historical region in Central Asia, located in the pool’s. Zeravshan and Kashkadar’yi. Henceforth the oldest centers of civilization where the middle of I millennium BC. E. e. There was a state of Sogd Marakanda capital. 3 Uighurs - the people who from the early Middle Ages and still living in East Turkestan. In VII-VIII centuries. They were prominent political force in Central Asia, and 840. created Uighur-Turfanske principality, which lasted more than five centuries. 4 Sui Dynasty (581-618 gg.) Was founded by the Chinese military leader Jiang Yan in 581. From 618 g. power passed to the founder of the Tang Dynasty (618-960 gg.) Li Yuan. During the reign of dynasties there was a unification of China and the development of musical culture of all ethnic groups that were part of Chinese empire.

References 1. I. B. Muzыkalnыe Bentovych ynstrumentы drevneho Sogdiana (on dannыm rospysey Penjikent) / I. B. Bentovych // Kratkye messages archeology institute of Sciences of the USSR. - Moscow: Science, 1976. - Vol. 147 - P. 55-62. 2. Vizho TS Muzыkalnыe Average ynstrumentы Asia: Historic Essays [pod scientific. Ed.FM Karomatova, GA Puhachenkovoy] / TS Vыzho. - M. Music, 1980. - 191 p. 3. Dyakonova NV Folklornыe motyvы and apotropey in art yzobrazytelnom East Turkestan / NV // Culture Dyakonova East. Rannee antiquity and Middle Ages: Sat. Art. - LA: Aurora, 1978. - P. 222-228. 4. Kybyrova C. Evolution ynstrumentaryya uyhurov / s Kybyrova // Questions ynstrumentovedenyya: Sat. referatov Internat. Ynstrumentovedch. Conf. »Blahodatovskye reading.» - St. Petersburg: RYYY, 1993. - P. 73-77. 5. Meshkerys V. Interaction muzыkalnыh cultures Tanskoho China and sosednyh states Central Asia / Meshkerys V., V. Mamonov // Questions ynstrumentovedenyya (K 120th anniversary K. Sachs); materials VII Internat. Ynstrumentovedch. Congress »Blahodatovskye reading.» - SPb., 2010 - Vol. 7. - P. 108-110. 6. Muzыkalnыe ynstrumentы China. Yllyustryrovannыy Essay [s Avtoryzovannыy Translation chinese ed. and c dopolnenyyamy I. S. Alendera]. - Moscow: Gos. muses. Publishing House, 1958. - 70 p. 7. Ryftyn BL IZ history cultural ties Average Asia and China (II c. BC. Э.- VIII in. BC) / BL Ryftyn // Problems vostokovedenyya, 1960. - № 5. - S. 119-132. 8. R. Zadok Muzыkalnыe ynstrumentы Drevneho in Khorezm monuments yzobrazytelnoho art (IV-III centuries. BC. E. - III-IV centuries. BC. e.) / R. Zadok peoples Music // Asia and Africa. - Moscow: Sov. Composite., 1969. - S.20-34. 9. Zadok RL Oskolkov of thousands of gold saza / RL Zadok. - Moscow: Sov. Composite., 1971. - 169 p. 10. E. Schaefer Gold Peaches of Samarkand. Book at chuzhezemnыh curiosities in the Tang Empire /E. Schäfer. - Moscow: Nauka, 1981. - 608 p.

Summary Chen Nanpu. Question K Sino-Central azyatskyh music-instrumental bonds (on the material udarnыh of tools) The article is devoted to studying migration percussion Central Asia Great Silk Road in the early Middle Ages and adapting traditional music Instrumentation China. The features of morphology and scope of various types membranophone and idiofoniv in the palace and folk musical culture of ethnic minorities in China. Keywords: yaohu drum, tambourine dub, samozvuchi tools, Tang Dynasty, Dvirtsi orchestras, musical archeology.

Summary Chen Nanpu. Regarding the issue of Chinese central Asian musical and instrumental connections (based on percussion instruments). The article is devoted to studying migration in respect of percussion Central Asia on the Silk Road in the early Middle Ages and their adaptation to the traditional Chinese musical instruments, as well as revealing the essence of national musical instruments in historical and its role in the cultural practices of the country. Much attention is given to the author of the characteristics of more than 50 varieties of percussion instruments that exist in the musical culture of over 4000 years, and percussion instruments, which came to China as a result of intensive cultural contacts that began in the early Middle Ages along the Great Silk Road. These issues are addressed in the context of a new scientific discipline - musical archeology. The author analyzes in detail the basis historiographical research focuses on the works of contemporary authors, emphasizing that the study of Chinese percussion instruments in the context of opinions expressed above, has not yet become the subject of professional scientific analysis. The article is based on research historiographical middle – the second half of the twentieth century, explores some ancient Chinese musical instruments that came here from Central Asia in the VII century, in particular the case of dvomembrannyy drum in the shape of an hourglass; given its characteristics, forms used in musical tradition. Analyzed the most famous archaeological sources, referred to in this instrument. Consider, among other things, percussion instruments and other Central Asian states – Sogdiana and covered on the basis of archaeological sources, its uses, musical expressional possibilities and proven facts of the phenomenon of cultural borrowing from the practice of Eastern Turkestan. In support of this view the author gives numerous data historiographical works, where similar issues are the subject of detailed expert analysis. Deals and other cultural influences in the music practice of China in the process of historical evolution. The author of a comprehensive approach to the analysis of these phenomena, utilizing not only the scientific literature but also information borrowed from literary works, which, though carry considerable aesthetic context, but rather expanding strongly and the evolution of musical instruments in a way. Much attention is paid to consideration of technical capabilities musical instruments, their characteristic forms, changes in designs and images reveals the origins of the first Chinese musical instruments discovered during the archaeological excavations in Sumeria (3000-2500 BC). Among others mentioned in the article and tambourine – traditional musical instrument East, the characteristics of which found a lot of borrowing. The possibilities of using this tool as skolyuyuchoho, as well as a mandatory instrument musical ensembles. A lot of interesting analogies with the practice of using this tool in tanchiki, Uzbeks and other peoples. Posted his exhaustive specifications. The paper analyzes the facts and the use of other musical percussion East; disclosed their characteristics and role in cultural practice in different historical periods. The features of morphology and scope of various types and membranophone idiophone in the palace and folk musical culture of national minorities in China. Thus, the study percussion musical instruments China is the musical and instrumental phenomenon that plays a centuries-old interaction of man cultural and musical traditions of Central Asia and China, concludes the author of the article. This article completes a series of scientific studies on ancient musical instruments analyzed in terms of new musical disciplines - music archeology. Key words: yaohu drum, tambourine dub, samozvuchi tools, Tang Dynasty, Dvirtsi percussion bands, cross-cultural contacts, music borrowings, historical tradition, percussion musical instruments, musical archeology, cultural evolution.

Annotation The article is devoted to the issue of migration of percussion instruments on the Great Central Asia Silk Road in the early Middle Ages, and their adaptation to the traditional music Instrumentation China. The peculiarities of the morphology and scope of various types membranophones and idiophone in court and folk music culture of China’s nationalities. Keywords: yaogu drum, tambourine dub, samozvuchnye tools, Tang Dynasty, palace orchestra, musical archeology. Received 11/12/2014

UDC 78.52 D. Olіynik

XYLOPHONE W KLAVІSHNIM MEHANІZMOM TA SKLYANІ GARMONІKI IN ЄVROPEYSKІY MUZICHNІY KULTURІ XVII-XIX STOLІT

In the XVII century. z’yavlyaєtsya rіznovid xylophone on yakomu sound vidobuvali not palichkami, and for Relief molotochkіv scho cited at dіyu spetsіalnimi klavіshami (Fig. 1a, b, c). Tsey rіznovid іnstrumenta Winick Nіderlandah i have to have the right to vikonavtsіv priznachavsya on karіyonі1 and takozh for organіstіv. Tse samobutnє vikonavske Mistetstvo pov’yazane s rozvitkom polіfonії in muzichnіy kulturі nіderlandskih mіst. Dzvonarі scho boule dosit often th organіstami, virіznyalis Nadzvychaina sytuatsia vіrtuoznoyu groyu on karіyonah. However, spetsifіka funktsіonuvannya tsogo іnstrumenta scho zazvichay vstanovlyuvavsya on budіvlyah mіskih town halls, dzvіnitsyah soborіv i godinnikovih vezhah, did not give mozhlivostey vpravlyati on tsomu іnstrumentі to whether yaky time. Tom potrіben CCU Compact іnstrument, for priznacheny repetitsіy. Yogo konstruktsіya not vinikla raptovo. Vіdomo scho in Serednovіchchі іsnuvali organic dosit primіtivnoї, gruboї robots [1; 86]. Їh klavіatura skladalasya s klavіsh width of 5-7 cm, vіdstan mіzh yakimi syagala 1.5 cm. Grail on Tsikh bodies are not fingers, fists (to th potrіbnі boule takі shirokі klavіshі!). Tsey sposіb vikonannya CCB zapozicheny for Green’s karіyonі. Slіd zaznachiti scho on vsіh vіdomih malyunkah i kreslennyah not іsnuvalo іnstrumentіv s odnakovoyu konstruktsієyu klavіshnogo mehanіzmu. Spіlnim them CCB deprivation principle zvukovidobuvannya for Relief klavіsh. The earliest image of the keyboards xylophone mechanism delivers 1636 M. Mersenne in his treatise »Harmonicorum libri» (section II) [12; 162]. In § XVII »Wooden Psalter and klavitsymbalna design and an explanation of »the author explains the principle of the mechanism design and delivers tools and drawing parts of it (Fig. 1a) [12; 162-164]. The tool, called Mersenne Lignei Psalterij (wooden Psalter), consists of 17 round in terms of wooden bars fixed over trapezoidal box, one side of which are vertical slits, which are inserted key. They are carved in the form of round rods with one hand in a significant thickening oval pen-holder, and the second - hammers round. Pressing the key-punched handles resulted in action hammer that rose up by striking the back of the bar xylophone. A. Kircher in the first volume treatise »Musurgia universalis» (1650) gives a detailed description xylophone (building which also has a trapezoid shape and consists of 17 round bars) and keyboard mechanism as well as drawings of its design and circuit-action keys (Fig. 1 B). He notes that »this is an excellent tool for employment »[11; 518]. Construction and mechanism of keys compared to tool M. Mersenne more complicated. A. Kircher calls this xylophone Zylorganum, so same as the single-row vertical xylophone, which he also considers in detail in his treatise [11; 518-519]. In the 1730-1740’s. GN Gerber (1702-1775 gg.), A German organist of the Palace Chapel m. Zonderhauzen, produced its own version of xylophone keyboard. Unfortunately, pictures and drawings this tool, and its name is not zberehlos2. We only know that he had a range of four octave sounds vydobuvalys »with wooden balls strikes the keys» [4; 147]. More Information about the most preserved Gerber. He was born in Schwarzburg (Thuringia) in a peasant family that has not stopped him get primary education, in particular, music, school campus Myulnhauza and later (in 1721) – in Zonderhauzeni and Leipzig University. In Leipzig, he took music lessons in Bach [9; 107], which »strongly supported tyurynhskoho strong peasant» [4; 147]. 1731 Gerber gets the post of organist at the chapel Zonderhauzeni and then headed to the chapel Palace as secretary. He was also a teacher, composer and hard and hade improved musical instruments (including keyboard and xylophone). That is out of range xylophone keyboard Gerber (4th octave), his keys could be adapted for the game fingers. This, in turn, may indicate that the tool is not intended for performers on kariyonah and solely for organists. In this sense, it is interesting treatise Gaspar Schott (Schotti) »General magic of nature and art» (»Magiae universalis naturae et artis» 1674) [14], in which the author gives a detailed description of the design and drawing tool and mechanism of action keys (Fig. 1 B). Schott AG calls this tool (after Kircher) Zylorganum. In the »Magic Music» the author describes the structure and design of individual parts [14; 372-376]. The tool consists of 20 round cut bars in different lengths strung from both the ends of two metal wires. Bars placed on top of the lid of the wooden box along the edges cracks, covering it (Fig. 1 B). On one of the longer sides of the rectangular box (closer to top cover with bars) cut narrow vertical holes for the keys. Flat and slightly concave to the middle of the round form key-button cut entirely with a long rectangular rod. Toward the round keys are rectangular lever, and at the opposite end - small button-hammer. When you press the hammer goes up and fall in the back of the bar xylophone. Form keys (round, with a concave middle) was adapted to extract audio vdaryannyam fists on them, it is more convenient to press keys with your fingers. In 1768 published a book Adlunha J. Albrecht and J. Lorenzo »The structure of the musical mechanics. Foundations knowledge of the structure, use and storage of the organ klavitsymbal, clavichord and other Instruments »(» Musica mechanica organoedi. Gründlicher Unterricht von der Struktur, Gebrauch und Erchaltung von der Orgeln, Clavicymbel, Clavichordien und anderer Instrumente ») [2]. The second volume (Chapter XXIV, § 553 - »Keyboard Hanstinha and ksylorhan») filed description tool called »Xylorgano», »similar in structure to the tool Kircher (obviously, as previous instruments, it had the shape of a box-chest - DO), but more advanced »[2; 132]. Improvement touch improve keyboard mechanism »made court counselor Mr. Hastings» [2; 131]. Authors do not submit images of this tool, citing the fact that »for the life of Mr. Hastings (give life and death are unknown - DO) of his drawings and pictures were not published «[2; 131]. As the authors note, we only know the following: 1) it is not consisted of 17 and round of 26 in terms of bars and had a two-octave range; 2) fingers of one hand could take duodetsymu interval. Indication December fingers, and the maximum interval that you can take the fingers of one hand, states that Hastings keyboard could already be similar to the keyboard clavichord, harpsichord or spinet, mechanical actions are much more complicated than previous keyboards xylophones. The authors note that there are more instances of the range [2; 132]. Among orchestral instruments »Teatro la Fenice» (Venice) is still a keyboard xylophone early nineteenth century. Venetian master Francesco Varoly (Figure 1 d). The tool is similar to piano keyboard and hammers structure, but instead felt on the surface of each fixed bone plate that when you press a fall in rectangular breakdown wooden plates xylophone. The range of tools covers three octaves (from C2 to C5) [7; 356]. Of course, on such a tool almost impossible to achieve dynamic gradations, but quite easy to perform chords, clusters, rhythmic figures (in octave) at the rapid pace that it was impossible to perform two sticks one xylophone (regardless of the systems - two-, three-, Four-). In the early twentieth century. one of the first composers who used this tool was Bella Bartok (in the opera »Duke Bluebeard Castle», 1911). Since this is an extraordinary tool rare, keyboard xylophone party (in the score B. Bartok he labeled Tasten-Xylo - »Shakers xylophone») usually perform two ksylofonisty, but the change is not always satisfactory. Another composer who used the xylophone keyboard in a work for chamber Orchestra »Newton-Variationi» (1979), was Luciano Cheyli, a disciple of Paul Hindemita. The glass harmonica. Finding eliminate dry and crackly sound of wooden bars and plates xylophone led to experiments with various materials. At the end of the XVIII century. instruments appear single row, where instead of wooden bars used glass plates rectangular, circular and semi-circular in terms of shape (Fig. 2a). The glass harmonica in there different names - Sticcado Pastorale (Italy), Sticcado Pastorale, Glass Harmonicon, Zylophone, Glass glockenspiel, Harmonicon Glasses (England), Glasharmonika or Glasstabharmonika (Austria and Germany), Vierre- harmonica (France), harmonika szklanna or symbalki (Poland). This tool has nothing to do with a glass harmonic Benjamin Franklin, consisting of glass hemispheres, the sound of which is produced by rubbing the edges hemispheres fingers soaked in water (friction method). The oldest written mention of a glass harmonica (»Glasharmonika» and »Glasstabharmonika») come from Germany. Robert Aytner in biographical and bibliographical dictionary notify KL Vaysfloka from Frankfurt am Main - singing and mathematics teacher and member of the Palace Choir, who in 1731 »invented a kind of glass harmonica which played chapel» [6; 240]. English music historian Charles Burney in his book »State of Music in Germany, the Netherlands and the United provinces or travel blog by countries to collect materials for the general history of music »(1775) noted that among the inhabitants of Saxony »quite common and popular music tool is strofil (ie, Strohfidel, xylophone - DO), which is made of different pieces of glass length or wood or metal, and play it sticks, like sticcado (English and Italian name row xylophone - DO) »[5; 71]. These data indicate that in Germany at least since the beginning of the XVIII century. glass harmonica existed that had a similar to German row xylophone design and method of sound production. English oldest specimens date back row of tools 70 r. XVIII century. D. Smart, father of the famous England organist and composer J. Smart (1776-1867 gg.), Produced tool modeled on the medieval and baroque horizontal row xylophone, who called Sticcado Pastorale (Fig. 2a). The tool consists of a number of round one in terms of glass bars of different sizes located in separate cavities in a trapezoidal box. Each bar engraved marking pitch. Bars configured for C dur’nym scales (s¹-g²). The range is 2 ½ octave sound produce special thin sticks, culminating balls made of ivory. Vdaryannya stick different halves balls (with or without skin) on the glass bars attached diversity color and power of sound. J. Smart has published a manual with pictures and instructions for self-mastery of playing this instrument [10; 120]. In 1772 singer on the glass harmonica James Bremner in London published a guide for pastoral stikado that, in addition to description and instructions for implementation, contains a collection of different pieces adapted for this instrument (»Instructions for the Sticcado Pastorale, with Collection of Airs adapted for that instruments»). Known that George. Smart in the 1770-1775 biennium. collaborated with John. Bremner, who was not only a performer, but also Music shop owner and co-owner of the music publishing »Robert Bremner» [10; 120-121]. In 1778 the English clergyman D. Woodward (1740-1803 gg.) Described in his diary a tool that he had seen and heard in the county Parson. Recorded 9 September, he said: »I looked there’s a tool that has never been seen or heard. He called Sticcado Pastorale. This Tool is extremely soft sound .... Such a tool, but is made of wood, not worthy Compare «[15; 235]. D. Woodford also mentions this instrument artist – mistera Kustantsa [15; 236]. During the 1780-1810’s. Different musical firms produced glass harmonica and printed instructions for self-mastery in playing the instrument. Thus, in 1780 the London musical publishing »Lukey & Co», which also implemented the glass harmonica, issued a »new instructions for Sticcado Pastorale », which, in addition to instructional materials, contained various pieces and popular tunes [10; 128]. In the 1830-1840’s. There is a new modification of the glass harmonica. Sound bars were replaced by rectangular flat glass plates which, unlike specially conferred in obtyahneni matter grooves stuck to two flat cords, stretched inside the side walls of the box, without touching its bottom (Fig. 2b). This provided transparent sound each plate. Another form was and sticks. Their heads were produced from the bark of cork trees and were mostly cylindrical, shape napivtsylindrychnu or smaller in diameter kruzhalets. Box-top box along both long sides was covered with two thin wooden lids that covered only the end plates, leaving them middle free. This design solution helped to limit the space for the implementation effort on the plates because the impact hammer on the edges of thin plates could cause cracks or chipping the glass. The tool consists of 15 plates tuned in diatonic sequence (gamma C dur) with a range of two octaves. The glass harmonica was used not only in amateur music-making, but also for development vocal intonation skills and facilitate reading musical text. For the first time this tool Title Glass Harmonicon (glass body) used the English teacher P. Glover (1785- 1867) from the city. Norwich (England), which was the so-called inventor norvichskoho ear training [13; 93- 195]. Developed her musical notation letters of the alphabet and diatonic chromatic notes as follows: Height sounding glass plates: a-b-h-c-des-d-es-e-f-fis-g-as Code letters: h-j-k-o-p-q-u-v-w-x-y-z 1825 British glass manufacturer harmonics D. Ayronmonґer modification made glass harmonica, combining in one tool two two-row-row (Fig. 2b). In the same year he published the manual »Instructions for new advanced glass harmonica» (Instructions for the new improved Harmonicon Glasses, London, 1825). The tool consists of 25 glass plates with three octave range, located in chromatic sequence of s¹ to s³ .. 1840 AD Ayronmonher in London produced another guide called »How-to a double and a single glass of harmonics, which are attached to the selected plays, quadrille, waltz, gallop, mazurka and others. ». The manual guidance serves as the performance of single row and in-line instruments. An interesting collection of works from the repertoire of dance character, popular in amateur circles in London in the early nineteenth century. In the early nineteenth century. French musician Mr Lenorman3 constructed its own model dvuhrjadnoj glass harmonica - Vierre-harmonica (Fig. 2g). His instrument consisted of two separate rows of rectangular glass plates interconnected by a cord. The ends of the cords attached to these plates strung just below the inner edges of the sidewalls boards trapezoidal box. The shape and arrangement of parallel (in two rows) this is a copy of the Tyrolean harmonica two-row xylophone. Tools used in amateur and instrumental vokalno- instrumental music. We know that in Italy in the second half of the nineteenth century. and played on the instrument professional performers. In the German newspaper »Allgemeine Musikalische Zeitung» for 1840 contains short note on the statement of Mr Tasselli of Ferrara. In particular, it was noted that: »... Mr Tasselli extremely skillfully and tastefully executed aria »Casta Diva» from »Norma» Bellini, and so deserved applause the audience »[3; 140]. 2011 KP Pikapiva discovered and restored glass harmonica Italian library m. Gandini. Tools (as evidenced by the inscription on the back of the hand tool cover) belonged local bell ringer, artist on kariyonah K. Pichchinali. It is known that in 1895, 15-year-old was one of the best performers on kariyonah in. Gandini, and one of the founders of 1898-1899 instrumental ensemble »Pastorella», where he played on a glass harmonica. This ensemble there is now. In the twentieth century. Italy glass harmonica was popular tool, which played not only in ensembles, but also street musicians. Glass harmonica under the names harmonika szklanna and with cymbałki early nineteenth century. also known in Poland. The performers they were largely Jewish professional Musicians - klezmer. In the early nineteenth century. in Germany, Austria and Bohemia (Czech Republic) there are glass harmonic keyboard (Glasharmonika mit Tasten, Tasten Harmonika, Clavier-Harmonika, Glasplättchen-Klavier) (Figure 2 d). The principle of the mechanics of keyboard instruments little different from the xylophone keyboards. Thus, in the history of European xylophone during the XVII-XIX centuries. there were different its improvement. The practical needs of artists on kariyonah and organists had led to XVII. hybrid instruments - xylophone with keyboards mechanism. The search for overcoming dry crackly sounding xylophone led to experiments with materials that would have replaced wood, thus having glass harmonica, which were used during the XVIII-XIX centuries. To amateur and professional performance. By the end of the nineteenth century. these tools gradually came out items. Notices 1 Kariyon - a set of small bells of various sizes that are tuned to a certain tone. 2 In encyclopedias end of XVIII-XIX centuries. This tool appears under the name »kind shtrohfidelya »(ie, xylophone - DO) [8; 890, 4; 147]. 3 Name the musician sources not specified.

References 1. General history of music / [avt.-status. A. Minakova, S. Minakov]. - Moscow: Eksmo, 2009. - 544. : Ill. 2. Adlung J. Musica mechanica organoedi. Gründlicher Unterricht von der Struktur, Gebrauch und Erchaltung von der Orgeln, Clavicymbel, Clavichordien und anderer Instrumente / J. Adlung, JL Albrecht. - Berlin: Friedrich Wilhelm Birnstlel, 1768. - Band II. - 201 s. 3. Allgemeine musikalische Zeitung. - Leipzig: Breitkopf & Härtel, 1840. - Vol. 42. - № 7. - 12 Februar. - 1087 s. 4. Berensdorf E. Neues Universal-Lexikon der Tonkunst. Für Kunstler, Kunstfreunde und alle Gebildeten / E. Berensdorf. - Dresden: Verlag von Robert Schaefer, 1857. - Band 2. - 1083 s. 5. Burney Ch. The Present state of music in Germany, the Netherlands, and United Provinces. In two Volumes / Ch. Burney. - London: Becket & Robinson, 1775. - Vol. II. - 352 p. 6. Eitner R. Biographisch-Bibliographisches Quellen-Lexikon ser Musiker und Musikgelehrten bis zur Mitte des neunzehntes Jahrhunderts / R. Eitner. - Leipzig: Breitkopf & Härtel, 1901. - Band. 10 - 450 s. 7. Facchin G. Le Percussioni nuova edizione ampliata / G. Facchin.- Torino: EDT srl, 1997. - 800 p. 8. Fink GW Encyklopädie der gesammten musikalischen Wissenschaften oder Universal-Lexikon / G. W. Fink. - Stuttgart: Verlag von Franz Heinrich Köler, 1838. - 926 s. 9. Grew E. M. Bach / E. M. Grew, S. Grew. - London: JM Dent and Sons Ltd, 1947. - 239 p. 10. Kidson F. British music publishers, printers and engravers: London, Provincial, Scottish, and Irish / F. Kidson. - London: W. E. Hill & Sons, 1864. - 231 p. 11. Kircheri A. Musurgia universalis sive Ars Magna consoni et dissoni [Electron resource] / A. Kircheri. - Rom: Ex Typographia Haeredum Francesci Corbelletti, 1650. - 690 s.- Access: http://books.google.com.ua/books?id=Ebv8SNgKNno C&hl=uk&source=gbs_similarbooks 12. Mersenni M. Harmonicorum Libri [Electron resource] / M. Mersenni. - Paris: Guil. Baudry, 1636. - Liber primus. - 166 p. - Access mode: http://books.google.com.ua 13. Rainbow B. The Glass Harmonicon Rediscovered / B. Rainbow // Bernar Rainbow on music: Memoris and Selected Writings [red. Peter Dickinson]. - London: Boydell & Brewer, 2010. - R. 193-195. 14. Schotti GP Magiae universalis naturae et artis [electronic resource] / GP Schotti. Pars II. Acustica.- in VII libros digesta. - Bamberg: Suptibus Joans Cholini, 1674. - 447 s. / Schotti G. P. Magiae universalis. - Access: http: // books. google.com.ua 15. Woodforde J. Diary of a Country Parson / J. Woodforde [ed. John Beresford]. - London: J. D. Beresford, 1924. - 251 p.

Summary The first time the conditions of xylophone and functioning of the mechanism keyboards harmonics andglass in European musical culture of the seventeenth and nineteenth centuries. Analyzed their design variety, scope and performance. Key words: European musical culture of the seventeenth and nineteenth centuries. Xylophone with keyboards mechanism, glass harmonica.

Summary Olijnyk D. Key mechanism-based straw-fiddles and glass harmonicas in European musical culture of ХVІІ-ХІХ centuries The first time the conditions of xylophone and operation mechanism of keyboards and glass harmonics in European musical culture of the seventeenth and nineteenth centuries. Analyzed their structural variety, scope and performance. The emphasis placed on considering the structure of musical instruments, system and specifics of their use in the practice of the European musical ensembles and as skolyuyuchoho musical instrument. Tesyturni considered the possibility of some of them. It is proved that the cause of a xylophone keyboards mechanism in which sound is extracted using special »keys» were purely technical aspects – the need to use this tool for rehearsals. The evolution of the above musical instruments is considered an example describing the history of inventions in many countries, aimed at improving both musicianship and convenience of playing on these instruments. Posted enough specific characteristics of those artists who contributed to technical improvement tools and considered repertoire. The article to bring many of the provisions by extensive use of intelligence historiography on the subject prepared by Western researchers of different periods, which makes the material sufficiently scientifically justified and convincing. Work distinguishes and wide visual range, which enables more clearly look at the evolution of these tools. The author also draws attention to the special characteristics of percussion instruments used in the practice of collective game. This is the keyboard xylophone early nineteenth century, made in Venice. Posted description of his keyboard are its differences from the piano, found musical range and other characteristics that make it possible to make more or less complete picture of the technical features of the instrument. Characteristics of European classical music using data from instruments. Among other things, the article refers to the glass harmonica, which aimed to eliminate some impropriety in the system of extracting sound characteristic of xylophone with wooden plates. Analyzed several different types of instruments inventors; followed the evolution of this musical instrument in many countries and found repertoire, most typical for this type of equipment. The attention is focused on the characteristics of a series of musical instruments manufactured commercially by various music companies to meet the demand for glass harmonica and analyzed those instructions were added for the purpose of self-mastery of playing the musical instruments. Showing potential technical capabilities of new instruments submitted its detailed specifications; The practice of using this tool not only in amateur music-making, but also to develop the skills of vocal intonation and musical readability of text. Much attention is paid to author articles and features double-row glass harmonica, invented in the early nineteenth century in France and identified the major causes coagulation of interest in a musical instrument. Reveals the reasons for the popularity of modern glass harmonic restored musical artists in particular, in modern Italy, given the nature and characteristics of the restored musical instruments made in XX - beginning of XXI century generally shown trends in their use in contemporary musical practice of European countries, including Poland. Researcher analyzes the role of Jewish professional musicians that played on these instruments in the streets of European countries in promoting and further distribution of these tools in modern countries of the continent. Visual perception range facilitates research text. Key words: European musical culture XVII-XIX century, with xylophone keyboards mechanism, glass harmonica, the evolution of musical instruments, known master reenactors musical instruments, restorers, historians problem, research, contemporary musical practice European and national historic musical instruments.

Abstract Olejnik J. Ksylofonы with klavyshnыm Mechanism and steklyannыe in harmonyky evropeyskoy muzikalnoy culture centuries XVII-XIX For the first occurrence yssledovanы terms and functioning ksylofonov with klavyshnыm Mechanism and steklyannыh harmonyk evropeyskoy muzыkalnoy culture in XVII-XIX centuries. Features Analyzyruyutsya s designs, sphere of application and yspolnytelstvo. Keywords: evropeyskaya muzыkalnaya culture XVII-XIX centuries. Xylophone with klavyshnыm Mechanism, steklyannaya harmonyka. Received 10/11/2014

UDC 783.51 K. Zahnitko

FEATURES GREGORIAN CHANT RHYTHMICALLY INTERPRETATION Questions rhythm Gregorian chant is one of the most difficult in the study of Western monody. To search for rhythmic interpretation of Latin hymns, researchers turn to ancient sources recorded nevmennoyu notation. In the monuments VIII-XII centuries. although some notable rhythmic notation, but they are rather conventional and do not reflect the full picture. Rhythmic delineation of the oldest musical notation is determined using literal notation. The article is to examine theories rhythmic interpretation of Gregorian chant in the works leading Western medievalists, based on ancient nevmenni musical manuscripts. Early entry Gregorian chants was not clear rhythmic differentiation, which apparently was in the field of oral practice. Such ambiguity has led to what later (XII century). Chorale melody deployment limited one rhythmic unit here and there singing practice of equal duration, as called »cantus planus», which was in practice the XX century. Vatican maintained and publications. An example Graduale from 1924, where it focuses on zvukovysotnosti. The oldest manuscripts date back nevmenni VIII-IX centuries. and generally not recorded in full melody, because it was preceded by a long phase of chorale singing by heart without any written fixation. Most types of notation to XII. it is impossible to reconstruct the melody on the basis only and nevm researchers must apply to the later manuscripts, comparing with earlier, which contains the notation more details. Modern semiolohichni direct the investigation to a deeper reading nevmennoyi notation, comparing its image forms, which aims to define principles and rhythmic interpretation chants. In particular, the Graduale Triplex There are three kinds of notation: two types nevmennoyi and linear, allowing you to pay attention to performing aspect. P. Bernakevych (Bernagiewicz) treats rhythm as »rhythmic melody component» [4; 36] that semiolohichnym interpretation corresponds with where the melody in the perceived integrity, without discrimination microparticles. On the smooth outline Gregorian chant can speak rather of positions possible ways of interpreting, where there are two opposing camps - and menzuralisty proponents of free rhythm, which actively began to discuss in others. Pol. XIX century. Notably, rhythm theory often can «hang in the air» and its tenets can gravitate to two theories simultaneously, though the positions from which to interpret the songs. Analyze the basic theory of interpretation theory in chronological rhythm section and their in practical feasibility study Gregorian chant. The author of one of the first concepts of free rhythm was J. Pot’ye (Pothier) [15], which R. Bernaґyevich calls a kind of credo in the research of this aspect of Latin monody. J. Pot’ye in Labour pointed out the above-mentioned two kinds of rhythm: • mensurable; • free (oratorical). Rhythm mensurable predetermined rules and so peculiar to poetry and based on the theory proportions, while free - defies regula, and directs the natural performance. Great Pot’ye value theory provides free proportions and Called to Cicero. This free rhythm on According Pot’ye, underlying rhythm hryhorianiky that corresponds to the »instinct ears.» Although researcher did not rule out inclusions mensurable liturgical rhythm in certain genres. Concept Pot’ye opponent was A. Deshevran (Dechevrens) [9], which saw the mistake in interpretation Cicero and generally the existence of free rhythm. Deshevran was a supporter of the theory of mensurable precise proportions. Subsequently ekvalistychnu actively promoted the theory of Benedictine salts. Stresses that Gregorian chant has free rhythm where nevmy different duration and does not subject to certain mensurable dyferentsiyam. In solemskomu interpretation rhythm chorale There are two stages. First was widespread oratorical theory (rhetorical), whereby free rhythmic chant grows from the language, where the main measurement is tonic accent. This theory completely avoided mensurable showed uncertainty and delineation of rhythmic component. This opposition has raised interest WET AG (Mocquereau) [7; 21-39], which drew attention to the Pot’ye labor, and especially its division into free and mensurable rhythm. Wet considerably developed Pot’ye concept and allocated free rhythm divided into four groups: • free poetic rhythm; • free oratorical rhythm metric; • free tonic oratorical rhythm; • free mixed oratorical rhythm. According wet Gregorian chant peculiar symbiosis of rhythms, without singling something out of this group specifically. Wet, like its predecessor Pot’ye, Called on known speakers and views the possibility of transforming the rhythm of poetry in prose rhythm and vice versa. tried to adjust oratorio theory and sought to solve this problem in a chorale melodies, although it did not deny the value of the text for rhythmic chant. Based on many years of research, he put forward a new theory – oratorsko- music that has become a new stage of development ekvalistychnoyi theory, according to which the chorale rhythm defined as free and relied on a steady rhythmic value - the so-called first time (tempus primum), which could be extended (transversum epizema) or doubled (pressus, punctum mora). Organize rhythm Gregorian chant was carried out on the basis of allocation of certain structures: elementary rhythm, single, folded. The basic structure is the basic rhythm, formed by two tempus primum, the first of which was rising character (arsis - rise), and the second - a top-down (thesis - decline). Sound thesis vertical bar indicates when nevmoyu that called ictus rhythmicus or rectum epizema. This term defines the basic rate limit, but not clock is equivalent risk. With a combination of two or three individual structures (opposite characters arsis and thesis) there compiled a rhythm, where the main factor is the same ictus rhythmicus. Rhythms drawn up in this system, gradually creating motifs (incisum), phrases (membrum) and periods (periodus). B. Shteblyayn (Steblein) [19] believed that ekvalistychnyy approach to rhythm helps highlight Gregorian chant among other music and highlight its close contact with the liturgy. Mensurable theory interprets Gregorian chant in several ways. Her supporters trying to apply these chants latest musical notation, that efforts to conclude Western Monody the beat and subjugate certain metric pulse. The main representatives menzuralistychnoyi theory was Lambilotte L. (Lambillotte) (1796- 1855), which is divided on nevmy longae; breves; semibreves. D. gúdar (Houdar) (1860-1913 gg.) Unified considered one unit of chronos, which responsible duration chvertky, so each group nevmatychna (pes, clivis, climacus) should last one chronos. E. Yamers (Jammers) [14] pointed out that the rhythm chorale based on long duty (chvertok) and short (eights) that are grouped differently. P. Wagner (Wagner, 1865-1931 gg.) [20] in rhythm Choral distinguished three cost: eight, chvertku and half and concluded nevmy per metric feet (pedes syllabarum), which consisted of long and short notes. According to his theory, virga had a long value and punctum - short. Although the principle of accentuation had nothing to do with the calculation of long and short syllables, and tonic based on the allocation of stressed syllables. In developed melodic chants to »Language» emphasis added »logical» and »oratorical», ie accents, arising from the fact, »Music» intonation and semantic principles. This principle of design is high artistic generalizations that grew on the basis of linguistic accents. In rhythmic chant features also influenced style chants. N. Efimov [2] identifies three possible value and syllabic sound: • syllabic style (one storage accounts for one sound, ie use mainly punctum, virga); • nevmatychnyy (increasing the number of sounds that occur in one syllable, 2-3); • melizmatychnyy (rich in singing three or more sounds). Because of the way early nevmennyy record rhythm is still unsolved and most controversial issue in mediyevistytsi. Even the creation of two major concepts not given exhaustive explanation rhythmic phenomenon in hryhorianitsi. According to R. Gruber [1; 289-335] experience world history monody inclined to reject the view that straight and menzuralistiv adopts the decisive role of oratorical rhythm. Mr. Wagner took an intermediate position. Given the role of oratorical rhythm, at the same time delineation of rhythmic recognizes the existence of certain categories nevm. Mensurable supporter of the theory was also H. Riemann (Riemann) [17], who tried subordinate rhythm Gregorian chant four-laws size. Questions rhythmic interpretation of Gregorian chant was made in a new way with the spread of ideas semiolohichnoyi at school. E. Cardini [8]. The main thesis research Cardin - indivisible linking text and music, which stems from the liturgical context. J. Heshl (Geschl) in a report to IX International Congress of Gregorian singing in Poznan [12; 73-99], emphasized that Western monody no melodies, divorced from the text. Music in this respect stands resonator, managed word. According Heshlya hryhorianiky similar rhythm to the recitation of prose text that No constant rhythmic figure, but rather is variable and based on long and short duration. One more known semiolohist, L. Aґustoni (Agustoni) claimed that »duration Gregorian music is transferred from the medieval syllabic prosaic text ... »[3; 13]. E. Cardin in his lectures stressed that rhythm is the »soul» chants and has a unifying component. One of the problematic aspects semiolohistiv is melizmatychnyy style. According to Fr. Cardini all styles Gregorian chant (syllabic, nevmatychnyy, melizmatychnyy) in rhythmic to do with difference and based on the temporal aspect of the word. The researcher argues reference value and punctum uncinus of ancient musical sources. However, the gradual leveling of speech in melizmatychnomu type creates additional difficulties in the performance, finding time reference component. The importance Time of the reference element in the performance of L. Aґustoni stressed: »Only instructional needs and requirements of terminology, which would help in distinguishing and comparing, steel are three degrees of rhythmic duration: medium, reduced, increased duration »[3; 9] Consider the basic literal notation, which include regular or rytmichno- melodic component in sentґallenskiy and metskiy notation following the labors of. Cardin and about. Sikerka [8; 16]. Sentґallenska notation: x (expecta) - wait; s (celeriter) - speed; t (tenete) - expand; k (clange) - with force; g (guttural) - resoundingly; f (franfor) - with force; strictim - immediately; coniungatur - close connectedness between the notes; volubiliter - in alternating manner; paratim - strongly; perfecte - exactly; fideliter - with distinction; simul - in the same way; similiter - like; molliter - smoothly; leniter - gently; pulcre - carefully. In metskiy notation: nectum - combine; tenere - expand; augere - continue; fastigium - melodic frame; subice celeriter - go down quickly; non tenete - not expand; subice celeritum quam mox - get off nayshshydshe; celeriter - speed; surpa celeriter quam mox - go down very quickly. Graphic elongation letters indicating their effect on the following nevmy. Implementation literovyh signs attributed monk Romanus (Romnus), and their N. interpretation Balbulyusu (Notker) of St. Gallen. His interpretation is relative and displays local traditions cells Gregorian chant. Quite often you can observe the use of additional symbols that carry a certain rytmichno- meaning and are graphically nevm picture. Among them - epizema that often means lengthening the notes, or a particular group. Thus, spectrum interpretation rhythm Gregorian chant is very broad and takes different methods of approach to the musical material. Inextricable link with text, genetic relationship most clearly manifested in connection with the accentuation of rhythm chorale - language or pidvyscheno- Public Speaking. While in developed melodic structures very often brings its own melody rhythm-organization principles, but in practice it psalmodiyniy text provides rhythmic pulse melodies and it imposes a metro-rhythmic structure. Are important new research semiolohichni nevmennoyi notation, which draws attention to rhythm and chants through the alphabetic symbols on graphic signs. The main problem is that the duration is associated with each liturgical contextual words, and therefore may have different treatment options that must be considered in the analysis Western monody.

References 1. The history R. Gruber muzыkalnoy culture / R. Gruber. - T. I. - Part 1. - M., 1941. - 609 p. 2. Efymova NI Rannehrystyanskoe singing of Western Europe in VII-X stoletyy / N. Efymova. - M., 1998. - 281 p. 3. Agustoni L. Czy istnieje średnia wartość rytmiczna w gregoriańskich notacjach neumatycznych? O wartości rytmicznej nut i terminologii / L. Agustoni // Studia gregoriański. - Poznań, 2014. - S. 9-21. 4. Albarosa N. Rozwój interpretacji semiologicznej chorału gregoriańskiego / N. Albarosa // Studia gregoriański. - Poznań, 2008. - S. 13-25. 5. Albarosa N. Menzuralizm wobec rytmu gregoriańskiego / N. Albarosa // Studia gregoriański. - Poznań, 2011. - S. 59-73. 6. Bernagiewicz R. Analiza chorału gregoriańskiego gatunki mszalnego Proprium. / R. Bernagiewicz. - Lublin: W-wo Muzyczne POLIHYMNIA, 2013. - S. 36. 7. Borowiec K. Dwa spojrzenia na dziłalność ojca Andre Mocquereau / Krzysztof Borowiec // Studia gregoriański. - Poznań, 2014. - S. 21-39. 8. Cardin E. Dom. Semiologia gregoriana / Eugene Cardine. - Roma: Pontificio instituto di musica sacra, in 1968, 1970, 1972, etc .; Polish. Trans .: Semiologia gregoriańska / perekl. Maciej Kaziński, Michał Siciarek. Kraków: Wydawnictwo benedyktynów TYNIEC, 2008. - 188 s. 9. Dechevrens A. Le rhythme du chant dit Grgorien d’aprs la notation neumatique / A. Dechevrens. - Paris, 1895. - 256 p. 10. Gastou G. Les origines du chant romain: L’antiphonaire gregorien / G. Gastou. - Paris, 1907. - 355 p. 11. Göschl J. Jedność w wielości: podstawy interpretacji śpiewu gregoriańskiego / J. Berchmans Gösshl // Studia gregoriański. - Poznań, 2011. - S. 73-99. 12. Hinz E. Chorał gregoriański / E. Hinz. - Pelplin, 1999. - 149 s. 13. Houdard G. L’art dit Grögorien d’aprös la notation neumatique / G. Houdard. - Paris, 1897. - 347 p. 14. Jammers E. Der Gregorianische Rhythmus Antiphonale Studien / E. Jammers. - Leipzig - Strassburg - Zörich: Heitz & Co, 1937. - 188 s. 15. Pothier J. Les melodies greriennes d’apres la tradition / J. Pothier. - Paris, 1881. - 300 p. 16. Rayburn J. Gregorian Chant. A History of the Controversy Concerning Its Rhythm / J. Rayburn. - New York, 1964. - 223 s. 17. Riemann H. Das Problem des Choralrhythmus / H. Riemann. - J. P. 1905. - 398 s. 18. Siekerka IH Notacja santgalleńska i metzeńska jako współczesne żródło interpretacji chorału gregoriańskiego / I. Hubert Siekerka. - Opole, 2005. - S. 177-180. 19. Stöblein B. Schriftbild der einstimmigen Musik. / B. Stöblein // Musikgeschichte in Bildern. - Bd. III, 4. - Leipzig: Deutscher för Musik, 1975. - 357 s. 20. Wagner P. Gregorianischen Melodien / P. Wagner. - T. 1-3. - Leipzig. - S. .1911, 1912, 1921, 344, 422, 521.

Summary We consider the theory of rhythm Gregorian chant in the works of leading Western medievalists. The study is based on interpretation of ancient musical notation nevmennoyi. In the spotlight ekvalistychna, mensurable and semiolohichna concept in chronological cut. Analyzing rhythm Pot’ye theory J., A. Wet, Deshevrana A., B. Shteblyayna, P. Wagner, L. Lambilotte, E. Yamersa, about. E. Cardini. The attention on the problems of playing Western monody characterized melizmatychnyy type of performance. The basic literal notation, which include regular the examples of component sentґallenskoyi and metskoyi notation. Keywords: nevma, Gregorian chant, rhythm, theory, semiotics, menzuralizm, monody.

Summary Zagnitko K. Features rhythmic interpretation of Gregorian chant The author analyzes one of the challenging theoretical problems of Western musical culture and the basis of material researchers from different countries and cultural epochs, especially examined the theory of rhythm Gregorian chant in the works of leading Western medievalists modern era. The question of the rhythm is known, one of the most difficult in the study of Western monody. The author refers to the authors of scientific works of this subject from the twelfth century The study is based on interpretation of ancient musical notation nevmennoyi. The author focuses ekvalistychna, mensurable and semiolohichna concept in chronological cut. Analyze rhythmic theory Pot’ye J., A. Wet, Deshevrana A., B. Shteblyayna, P. Wagner, L. Lambilotte, E. Yamersa about. E. Cardini. The attention on the problems of playing Western monody characterized melizmatychnyy type of performance. The basic literal notation, rhythmic component including the examples of sentґallenskoyi and metskoyi notation. The article deals with the specifics of the reconstruction of ancient manuscripts Lack VIII and IX centuries are not recorded in full melody, due to the specifics of contemporary chorale singing by heart. Based sufficient volume of collected material author discusses individual researchers in different historical periods and, accordingly, scientific schools, trying to reproduce the course of scientific research of this complex cultural phenomenon. In the article as the main alphabetic designations, which include rhythmic or melodic-rhythmic component in sentallenskiy and metskiy notation, guided known scientific work. Thus, spectrum interpretation rhythm Gregorian chant is very broad and provides various methods of approach to the musical material. Inextricable link with text, genetic relationship is most evident in connection with the accentuation of rhythm chorale - language, public speaking, or increased. While in developed melodic structures melody itself often imposes its own principles of rhythm-organization, but in practice it psalmodiyniy text provides rhythmic pulse melodies and it imposes a metro-rhythmic structure. Are important new research semiolohichni nevmennoyi notation, where attention is drawn to rhythm and chants through the alphabetic symbols on graphic signs. The main problem is that the length of each liturgical context is associated with words, and therefore may have different treatment options that should be considered when analyzing Western monody. Key words: nevma, Gregorian chant, music history, historiographical issues, concepts, current research, cultural context, rhythm, theory, semiotics, menzuralizm, Monody rhythm.

Abstract Features Zahnytko K. Gregorian chant interpretation rytmycheskoy Rassmatryvayutsya theory rytmyky Gregorian chant in labor zapadnыh medyevystov. Study on osnovivaetsya interpretation drevneyshey muzыkalnoy nevmennoy notation. In the center эkvalystychna attention, and menzuralnaya semyolohycheskaya concept in hronolohycheskom sreze. Analyzyruyutsya rytmychnыe theory Pottier J., A. Wet, Deshevrana A., B. Shteblyayna, P. Wagner, Lambylotte L., E. Yamersa about. E. Kardyna. Aktsentyruetsya the problems of Western Playback monodyy, performance melyzmatycheskoho type performance. Rassmatryvayutsya bukvennыe oboznachenyya, vklyuchayuschye in itself rytmychnыy component in Example IZ senthallenskoy and mettskoy notation. Keywords: nevma, Gregorian chant, rytmyka, theory, semyolohyya menzuralyzm, monodyya. Received 07.10.2014

UDC 4/7 »13» B.B. Lobachuk

ICONOGRAPHY ICON »TRANSFIGURATION OF CHRIST» FOURTEENTH CENTURY.

With Church of Nativity S. Busovysko Formulation of the problem. Transfiguration is one of the main themes in Christian iconography. As Ukrainian iconography XIV-XVI centuries. Little is known icons of the Transfiguration, so they Iconography requires detailed studies to understand the principle of formation Ukrainian style which developed and later transformed into icons of the plot. Unexplored icon »Transfiguration of Christ» the fourteenth century. Church of the Nativity with. Busovysko is one of Ukrainian ancient monuments of sacred art. Unable to determine features Iconography work, his unique style attributes without tracing the formation iconographic Transfiguration scheme in historical perspective. It is important mandorly analysis, which is the main formo-part of the landscape and the icon of the Transfiguration icon for which is inherent in Ukrainian painting Image aspiration entering into the characteristics inherent in a particular region of Ukraine. Analysis of recent research and publications. Scientific papers devoted to the iconography of the Transfiguration, can be divided into four groups: 1. Art criticism work late. XIX - beg. XX century. on the iconography of the Transfiguration (N. Kondakov, Pokrovsky, V. Lazarev, M. Alpatov etc.); 2. Byzantine Monuments theological and aesthetic thought (G. Palamas, St. I. Chrysostom, St. D. Areopagite, St. I. Syrian, St. Big V. et al.); 3. The literature on philosophy of religion (P. Florensky, E. Trubetskoi, S. Bulgakov and others.) 4. Research XX-XXI centuries. Devoted to the iconography of the icon »Transfiguration of Christ» the fourteenth century. From with. Busovysko (Vladimir Aleksandrovich, Vladimir Sventsitskoho Patriarch Demetrios (Yarema), etc.). The theme of the iconography of the Transfiguration, known since V century., Was regarded as in general works, devoted to Byzantine iconography and ancient Rus and in the works devoted to specific monuments of sacred art researchers such as N. Kondakov, Pokrovsky, V. Lazarev, M. Alpatov, Popov, D. Aynalov F. Buslaev and others. Period end. XIX - beg. XX century. was an attempt the rise of sacred art to a new level. So the researchers an opportunity conduct comparative characteristic of sacred works of Byzantine and European art. That period marked the first attempts to collecting icons that made it possible to establish the continuity of certain iconographic schemes and their relation to the liturgical tradition. The beginning of the XX century. is a turning point in the study of ancient art. I. Grabar with many researchers and restorers led large-scale systematic collection and restoration sacred art monuments, bringing great iconic collected material. It gave opportunity for detailed study of the early period of Russian icon art features iconography and style. Transfiguration in terms of theology devoted many works of theologians, philosophers and Fathers churches. Among them distinguish the work of St. I. Chrysostom, St. D. Areopagite, St. G. Theologian, St. I. Syrian, St. A. Crete, NE. Vladimir the Great. Topic Transfiguration much attention given to the issue of light directly Tabor light, which has become the main theme of the Byzantine theologian, founder issihazma G. Palamas. Important for the research work with Russian philosophers context. XIX - beg. XX century. considering that the iconography, icon painting canons discussion focuses on issues Tabor light. Attract the attention of labor E. Trubetskoy, S. Bulgakov, especially a priest P. Florensky, whose work in the knowledge of the theology of icons and sacred art in general, disclosed works »Ykonostas», »Obratnaya perspective» and »Nebesnыe znamenye (s Reflections tsvetov symbolism). » The features in the iconography of the »Transfiguration of Christ» the fourteenth century. from the village. Busovysko helped work Aleksandrovych V., V. Sventsitskoho Patriarch Demetrios (Yarema). Researchers analyzes tend to track icon »Transfiguration of Christ», artistic features color. Gives examples of similarities with other monuments of sacred art to determine dating work. The wording of objective article. A key objective in this article is iconographic research features mentioned icons, identify its unique stylistic features. Presenting main material. The theme of the Transfiguration is one of the main topics in Christian iconography. For the first time mention the feast of the Transfiguration at the beginning of the IV. From the church sources that on top of Tabor, a small mountain on the northern border of Israel large valley, an event that included the history of Orthodoxy called the Transfiguration. All three synoptic Gospels contain very similar descriptions of the Transfiguration [2: Matt. 17: 1, with. In 1209; Mk 9: 2, p. In 1245; Luke 9:28, p. 1278], which formed the basis of the plot of the icon of the Transfiguration. One of the oldest monuments of Ukrainian sacred art on the Transfiguration Lord on Mount Tabor, which survived to our time, is an icon of »Transfiguration of Christ» with Starosambirskyi Spassky Monastery. Ancient icon dates from the early fourteenth century. Sometimes the end of the thirteenth century. [4; 148, 7, 10; 48]. After the abolition of the monastery by the Austrian government Peremyshlyany bishop ordered distribute the property of the monastery - icons, liturgical vessels - the temples surrounding villages. 1793 to Church of the Nativity of the Virgin in the village. Busovysko received a charter from Bishop M. Rylla confirmed Bishop A. Angelovič the provision for the dismissal of the Transfiguration of the Lord, moved here because Elimination of the cathedral in the village. Spas [11; 206]. So the main temple icon Spassky Monastery »Transfiguration of Christ» appeared in the Church of Nativity with. Busovysko Starosambirskyi area Lviv region., One of the closest villages, which once belonged to the monastery [8; 351, 6; 42]. Today it is in stock gatherings Lviv National Museum. A. Sheptytsky. Composition icons traditionally divided into two tiers. In the center of the upper tier shown lonely figure of Christ in white vestments cold light blue with a greenish tinge, surrounded mandola [9: 146]. Neutral, devoid of emotional depth view of Christ directed sideways to the prophet Elijah, who is depicted on the right hand of him. Left, Jesus - Prophet Moses. Prophets in dark clothes, bent before Jesus in humble prayer poses. Slant Moses looks hunched and tired. Upper level static. Event Description Transfiguration in the Gospel identical with iconographic scheme image exemplified in the Gospel of St. Mark: »... Jesus took Peter, James, and John and led them up a high mountain alone. And he was transfigured before them. And his garments became radiant, exceeding white as snow bleacher could not whitewash so on earth! And there appeared to them Elias Moses, and they were talking with Jesus »[2: Mk. 9: 2; 1245]. In contrast to the upper tier, lower - dynamic, emotional. The figures here - in different, full of movement poses; pronounced emotions. The face of the apostles John and James fragments lost, but fell as if suddenly the earth, and wrap the face of the earth covering it hands silhouettes see the fear. Impressed by what he saw the miracle of the Transfiguration, the apostle Peter fell knees with lofty praise to Christ hands. In the Gospel mentioned point fright Apostles, »a bright cloud overshadowed them: and behold a voice out of the cloud, saying:» This is my beloved Son, whom I am well pleased. Listen to him! And when they heard the disciples fell down, and were sore afraid »[2: Matt. 17: 1; 1209]. In Byzantine iconography in the story of the Transfiguration image apostles are not the same. Various nuances and features is an important aspect in determining the dating works. By location G. Millet figures of the apostles and other researchers developed a typology for iconography Transfiguration, it is divided into two main types - Byzantine and oriental [14; 216-231]. Icon »Transfiguration of Christ» from the church of Nativity with. Busovysko belongs to Constantinople type, which is a characteristic feature in different images of the Apostles positions relative to each other. The iconography of the icon follows the tradition of XI-XII centuries., At a time Peter begin to depict a figure kneeling. Some attention in the iconography of the icon should be devoted to the analysis mandorly (translated from Italian - amygdala). After all it is - hierarchically most significant forms of elements icons that along with the halo is the construction of the main attractions of the entire composition [5; 131]. Mandorlu is called circle glory. It is described as fame, we meet in the Gospel of St. Luke: »... when Peter and clear with him were heavy with sleep, but awake, they saw his glory, and the two men that stood with him. » Matthew mandorla called »cloud clear» that overshadowed the apostles. In early Christian art form often mandorly vydozminyuvalasya. First, it depicted as a cloud of light, which ascended Christ. Over time, the image has spread halo-light that comes from the deity. Images of Christ in the particularly peculiar mandorli iconography of the Transfiguration and the Second Coming; mandorla shining glory passes here Lord. Later inherent in its use and other iconographic theme. Yes, it was mandorlu moved to the Virgin Mary (Assumption) and Mary Magdalene, when they portrayed taken at sky, where it acquired the same meaning praise. Since the end of XII century became mandorla used in the iconography of the Resurrection. Meets its image, composed of seven pigeons, which means seven gifts of the Holy Spirit. Painters of the Renaissance sometimes surrounded mandorloyu figures not only Savior and the Virgin Mary and saints but when they wanted to represent them in glory. In the XIV century. Light is the leading factor iconography. Mandorla value represents the uncreated light. Teaching Hesychasts gave the concept of »light» supernatural, divine meaning. It was believed that natural sunlight as the material, not made consistent with the Divine light. It is in the Byzantine sense associated with the doctrine of the Transfiguration on Mount light bodies Tabor when Christ revealed to students not created the light, that it was he himself [3; 380-383]. The doctrine of Tabor and deifying light designed Byzantine filosofamy- theologians Pseudo-Dionysius the Areopagite and Gregory Palamas [3; 77-79, 380-384]. G. Palamas talked about the possibility of the unity of human and divine nature in the person of Christ, real opportunity to sense God when God’s power is transmitted to humans and accepted it. Considered that a person could feel God, not just spiritually but also physically. Mandorla icon »Transfiguration of Christ» on p. Busovysko features a Gothic-Romanesque style. Almond-shaped sharpened at both ends vertically, out of which 17 acute »prickly» rays. Overall mandorly form indicated direction, which will be provided plot movement. For example, in the iconography of the story takes the soul of Christ Assumption of Our Lady into heaven, as reflected her shape, pointed upward. In Descent into Hell - Christ descends into hell first, and then picks bring up the souls of forefathers, corresponding fusiform mandorly. In iconography Mandorla Transfiguration, which aggravated form vertically because on the one hand »Glory» Christ given above, and on the other - it is with Christ then come up to God the Father. For mandorly Transfiguration typical darkening layers to the core. Thereby emphasizes movement, the energy output of the upper world in the earthly world. This is one of the differences Transfiguration, for example, mandorly Ascension which, by contrast, usually has a bright center. Color mandorly Transfiguration usually blue or blue-red, sometimes it zolotytsya. The icon »Transfiguration of Christ» on p. Busovysko with light blue-green. Tonal blue gradation indicates dynamics, openness a man divine energy that acts «on mean »mandorly. Picture it swept rays symbolizes it as a sign of power. The icon «Transfiguration of Christ» on p. Busovysko sharp beams from diverging mandorly, have several centers of exit. The rays fall on the diagonal, horizontal, vertical mandorly directions and toward the apostles. Rays fall to the three apostles out among other increasing length. The three beam often written on the icons of the Transfiguration even no other. Mandorla and rays in the icon »Transfiguration of Christ» circled contour thin line white figures of saints - on the contrary, a dark line that emphasizes the contrast luminiferous background - «light.» White line on mandorli rays and accidental, it had its own meaning. Gold background an icon indicating dazzling divine darkness through which vision is not able to penetrate human and linen rim emphasized the opportunity to contemplate »carnal eyes» link Creator grace of divine light. The saints depicted on the icon of the Transfiguration, are considered witnesses light could see it, thanks to the purity of his heart .. Symbols white painter understood color gold equivalent to only probation handed white Divine light being on this side, gold - on the other [13; 52]. Mandorla, or circle of Fame - one of the oldest images showing the holiness, the sign of spiritual glory depicted pictorial means. Significant role in the icon of the village. Busovysko plays landscape. Landscape warm pale ocher color background with a touch of ivory, which are the three rocky massifs. Somewhat clumsy form rocks, clearly underlined dark broken line, in the form of steps dark green. Central Mount Tabor - dark ocher. Icon stands out among the works of art of Galicia-Volyn Rus their artistic features. The summit of Mount Tabor landscape and its rich base color carpet vegetation with wide ocher-green strokes. This feature icons, according to V. Aleksandrovych finds a match in the circle of monuments of Byzantine art from the collection Monastery. Catherine in the Sinai (including in the icon »Transfiguration» beginning of the thirteenth century.) [1; 31-32]. Foreground landscape highlighted by three semicircular hills, according to V. Sventsitskoyi has certain affinity with views murals Kyiv Sophia (eg. the »Sacrifice of Abraham» in the choir) [9; 146]. This shows the continuation of artistic traditions of Kievan Rus in icon, use monumental techniques of painting easel. Interest in the landscape - one of the characteristics of Ukrainian medieval painting. To Ukrainian painting this time inherent desire for some specific and genuine transfer shown action, making the landscape characteristic features inherent in a particular region of Ukraine. Thus, the icon of »Transfiguration of Christ» on p. Busovysko traditional landscape in writing three mountains, painter introduces new features that resemble reliefs native Carpathians. A characteristic feature is also touching and naive revival Posay bushes of grass and flowers. The very icon of considerable size, which made it certain characteristics, because for icons of that time characterized such monumentality. Overall studied composition icon is built on contrasts and devoid of a integrity. Against the background of high rocky mountains demarcates Christ from the prophets before him bowed, as Christ is perceived somewhat ascetic isolation. The apostles also not related. Pretty freely spread out on the plane. Light smoky gray Tracings give certain plasticity silhouette Saints, but overall figures of saints rather constrained. The most well developed in the iconis draperiya clothing Apostle Peter. Icon strict written in a restrained style, there is a dramatic tension. Colours limited range of cold, light, saturated hues. The compositions of the icon-specific depth. The icon painter tries a bit naive, but sincerely convey the opposite perspective. The trees in the distance reduced, are not as clear. Long lines mountains softer, not as dark and rich. Such creative method eliminates Image conventions and brings a work of art to the people .. The dating of the icon is different: the end of the thirteenth century. XIV century. And sometimes, as noted by V. Sventsitska – beginning XV. [9; 146], through some stylistic differences in the spelling of the upper and lower parts, leading researchers to conclude about a possible break to write some songs icons, created by various artists who worked one after another [4; 46]. An outstanding researcher western iconography Patriarch Demetrios (Yarema) based spent some signs of similarity with other monuments of sacred art icon with dates with. Busovysko last quarter of XIII - beginning of XIV century. and considers it possible customer Prince Lev Danilovich. Yes, he said that writing style mandorly Christ and brings her rays miniature icon of the Greek Gospel of the Paris National Library, depicting a scene Transfiguration, which dates from the late thirteenth century .; Mount Tabor pointed rocks similar to fresco depicting (eg. »Steps Jacob» and his struggle with the angel of the church of St. Clement in Ohrid, dated 1295); the figure of the prophet Moses has similarities with the image of St. John in the Byzantine icon »Descent from the Cross of the Savior» thirteenth century. A. Stokle of assembly in Brussels [6; 47-48]. There is speculation that this famous icon painter wrote Volyn Ratenskyy, and the image of St. Peter can be seen as his self-portrait. Ratenskyy especially worshiped Transfiguration, because in his honor called monastery in Dvirtsi. After returning from Constantinople Metropolitan and could draw a central icon of the Savior to the temple, which is probably a couple of years was buried before Prince Lev, the father of his patron [12; 2-3]. But this is no opinion thorough verification. The plot of the Transfiguration Hesychasts is the main theme, but artistic traditions this area is not developed to study iconography icons. And is not typical for this a direct interest in the landscape. This icon is dependent on paleolohivskoyi classical norm, but only in the initial version of its mature version. That interpretation of the painting already belongs entirely new the times, as indicated performance faces, painted a light smooth shades under the eyes and on the cheeks. This characteristic brushwork painting style of Constantinople second half a century. Conclusions. Despite the large number of interpretations of the story of the icon of the Transfiguration, which is characteristic phenomenon in the iconographic tradition associated with the variety of iconographic schools, the differences historical and cultural environments in which icons were written, even despite the similarities between icons one school, we find something new, unique, and analyzed as icon »Transfiguration of Christ.» This Icon is a beautiful example of the Western church painting XVI. Iconography icons investigated under the influence of European artistic traditions developed in the original original style. It is unique and takes its rightful place among the monuments of sacred art.

References 1. Art Aleksandrovych V. Galicia-Volyn state / V. Aleksandrovych. - L., 1999. - 132 pp. 2. Bible or Book of the Scriptures of the Old and New Testament and the Hebrew language Greek to Ukrainian translated anew: anniversary edition to mark the millennium Christianity. - [B. m.]: All-Ukrainian. Evangelical Brotherhood babtystske, 1988. - 1523 p. 3. Bychkova V. Malaya History Byzantine эstetyky / V. Bychkova. - K.: Polyhrafknyha, 1991. - 407 p. 4. Vuytsyk V. Maloyzvestnыy obrazets knyazheskoho period / V. Vuytsyk. - M., 1996. 5. Gusev NV Some Receptions building a drevnerusskoy painting compositions in XI-XVII Ages / NV // Gusev Drevnerusskoe art. Hudozhestvennaya culture Novgorod. - M., 1968. - 3. T. - 368 p. 6. Dimitri (Yarema), the patriarch. Iconography Western Ukraine XII-XV centuries. / Patriarch Demetrius (Yarema). - LA: Print. Kunshty, 2005. - 508 p. 7. Logvin G. Ukrainian medieval painting / Logvin G., L. Milyaeva, V. Sventsitska. - K., 1976. - Table. XX. 8. Nykorovych Yu Churches and monasteries and Przemysl Przemysl diocese / Yu Nykorovych // Total clergy Shyzmatyzm n-katolycheskoho God spasaemoy Eparchy in hours from Peremyskoy born. Chr. 1879. - [reprint. 1879]. - K.: Laurel, 1999. 9. VA Ovsiychuk Ukrainian art of XIV - first half of the seventeenth century / VA Ovsiychuk. - K., 1985. 10. Sventsitskoho VI Painting XIV-XVI centuries. Art of the first half of the seventeenth century. T. II /VI Sventsitskoho. - K., 1967. 11. Slobodian Ukraine Vladimir Church, Diocese Peremysjka / V. Slobodian. - LA: A priori, 1998. - 864 pp. 12. Ukrainian sanctuary // Word Enlightenment. Old Sambor, 2013. - Oct. - № 119. 13. Eugene Troubetzkoy, Prince. Umozrenye in paints: Three Essays on Russkaya ykone / Duke E. Trubetskoy. - Moscow: INFO - Art, 1991. - 112 p. 14. Millet G. Recherches sur l’iconographie de l’évangile aux XIV, XV et XVI siècles d’aprèsles monuments de Mistra, de la Macédoine et du mont Athos / G. Millet. - Paris: Fontemoing et Cie (E. de Boccard, successeur), 1916.

Summary The features in the iconography of the icon of »Transfiguration of Christ» XVI century. from the village. Busovysko from the collection of the Lviv National Museum. A. Sheptytsky. DONE art analysis composition color icons and symbols, mandola and analyzes the image in landscape icon. Keywords: iconography, icon, Transfiguration, mandorla, landscape.

Summary Lobachuk B. Тhe ikonography features of »Тhe transfiguration of Сhrist» (ХІV century) from the church of the nativity in Вusovysko village The features in the iconography of the icon »Transfiguration of Christ» XIV century. from the western village Busovysko from the collection of the Lviv National Museum. Andrew Sheptytsky, given the fact that this type icons in Ukraine had been saved because of their iconography requires detailed studies to further understand the principle of formation of Ukrainian icon style. Moreover, this icon is one of the oldest national monuments of sacred art. This article provides a detailed analysis of the composition of art icons and symbols color image mandola and analyzed in the same landscape icon. All this is based on a thorough analysis of philosophical works of art and historical researchers vidtynu broad, ranging from the late nineteenth century to the present, including a significant part of theological studies. The author makes extensive use of comparative analysis of the works of famous authors ranging from N.Kondakova, V. Lazaryeva, M. Alpatova and others. Bearing in mind that the problems of iconography Transfiguration known since V century and every new day has made the development of this aspect of his problems. Particular emphasis is placed on the work study western painting patriarch Yarema (Dimitri), which is conducted on the basis of certain characteristics of similarity with other monuments of sacred art, this icon dates from the village. Busovysko last quarter of XIII – beginning of XIV century. and considers it possible customer Prince Lev Danilovich. The attention is focused on the research I.Hrabarya whose organizational and scientific activity helped to launch a large-scale systematic collection and restoration of sacred art. The story of the Transfiguration Hesychasts is the main theme, but artistic traditions of this area is not developed to study iconography icons. And is not typical for this area such interest to the landscape. This icon is dependent on paleolohivskoyi classical norm, but only in the initial version of its mature version. That interpretation of the painting already belongs entirely new the times, as indicated performance faces, painted a light smooth transitions shades under the eyes and on the cheeks. This characteristic brushwork painting style of Constantinople the second half of the century. There are assumptions noted in the article that wrote this famous icon painter Volyn Ratenskyy, and the image of the apostle Peter could perceive his self-portrait. Ratenskyy especially worshiped Transfiguration, because in his honor called monastery in Dvirtsi. After returning from Constantinople, Metropolitan and could draw a central icon of the Savior to the temple, which is probably a couple of years before he was buried Prince Lev, the patron saint of his father, stresses the author. Despite the large number of interpretations of the story of the icon of the Transfiguration, which is prevalent in the iconographic tradition associated with the variety of iconographic schools, differences in historical and cultural environments in which icons were written, even despite the similarities between the icons one school, we find something new, unique as in the analyzed icon »Transfiguration of Christ.» This icon is a beautiful example Western church painting of the XVI century. Iconography icons investigated under the influence of European artistic traditions developed a unique original style. It is unique and takes its rightful place among the monuments of sacred art. Key words: iconography, icon, trends in the study of iconographic monuments, national research school, Transfiguration, mandorla, landscape, specificity explore attractions in Western cultural tradition of icon painting, the prophets, the plot, the monastery. Annotation BB Lobachuk Features of iconography in the icon »The Transfiguration of Christ» in the XIV. Churches Nativity of the Virgin with. Busovisko The features in the iconography of the icon »The Transfiguration of Christ» XIV century. From from. Busovisko, from the collection of the Lviv National Museum. A. Sheptytsky. Held art criticism analysis of the composition of the icon and color symbolism. Particular attention is paid to image analysis mandorla and the landscape in the icon. Keywords: iconography, an icon of the Transfiguration, mandorla, landscape.

UDC 085 K.Y. Eliseev

RAZUMOVSKY MUSICAL COLLECTION PROCESS CULTURAL REVIVAL HERITAGE UKRAINE

The study of global and national cultural heritage is an extremely important process, necessary for understanding the present, objective assessment of the status and trends. This thesis true for contemporary artistic practice. After all, today is the return current spiritual values created by previous generations of artists, research, study and popularizing of that heritage, because of the tradition, reflected in the manuscripts and printed heritage, the relationship eras and generations. Also important task of preserving historical, cultural and awareness of how their national achievements in the context of globalization, that process is the most influential in the world today. In artistic space characterize the interaction of cultures, their enrichment, dissemination of best samples of national cultures. »Genotype globalization civilization was formed in the European Region as the transformation of traditional cultures. Trends merger and integration of mankind in many the most important aspects of life was depicted Vladimir Vernadsky in his concept of the noosphere and polietnosfery»[10, 8, 9]. In the context of contemporary artistic practice chamber and instrumental music from the musical collection Razumovsky family is the absolute proof of integration of Ukrainian and Western cultures, as the existence of this collection of XVIII century. in Ukraine. Musical Razumovsky collection, stored in the Music Department of the National Library Ukraine. VI Vernadsky, is one of the few musical monuments of the past day (like it - Medici collection in Italy, Esterhazy - Austria). She gathered during the XVIII century. several generations Razumovsky (though its owner was, inscriptions on the covers of catalogs, Count AK Razumovsky) [4; 39]. The collection includes more than 1,700 pieces of music XVII-XVIII centuries composers Austria, England, Belgium, Germany, Holland, Italy, France, Czech Republic. It presents different school of composition: it Music Composers old Viennese School (R. Vahenzayl) Viennese classical school (Haydn, Dytersdorf K., J. Schuster et al.), The Italian school (A. Corelli, D. Kambyny, John. Astarytta, J. Tartyny etc.), Mannheim School (J. Kyuhler A. Stamyts, P. Winter et al.), The French school (E. Bar, C. Leduc, Jean Breval, J. Davo et al.), The Berlin School (J. Quantz, C. Hraun F. Rayhard etc.) English School (B. Blake, L. Grain, R. Wainwright et al.). It should be noted that in XVII-XVIII centuries., Russia and Ukraine had developed a tradition of music in the manor estates. The earliest data on the existence bond chapels belong to the seventeenth century in .: mid-seventeenth century. its musicians had Bryukhovetsky Hetman, a large chapel held Bilotserkivskiy elder Lubomirski, and in the second half of the century - Hetman Ivan Mazepa. »Chambers fur’erskyy» magazine for 1744 (which describes the journey of Queen Elizabeth from Moscow Kyiv) repeatedly mentions Little Russian music, who played in Glukhov, Nizhyn Kozelets [11; 186 187]. Very significant were the choir and orchestra Galaganov, orchestra and theater Kochubey was widely G. Tarnowska famous orchestra in Kachanivka in Chernihiv. Last Hetman Ukraine K. Razumovsky kept chapel and orchestra. Razumovsky was then conductor Karl von Lau, a Czech by birth, and A. Ukrainian Rachinsky. But the largest by the number of artists and professionalism were considered the best in the chapel of count A. Razumovsky, the son Kirill Razumovsky Nezhine and Kozelets. The end of XVIII and beginning of XIX century., Called »gentry-aristocratic era of enlightenment.» After all, every noble family sought to have residence in his estate, paid much attention to the general culture and life education. Wealthy nobles always subscribed to foreign newspapers and magazines [3; 26]. By musical manuscripts and prints collection Razumovsky, you can see how it was repertoire bond chapels in the XVIII century and what were the tastes of the public of the time; which tools used in ensemble music-making, the level of complexity of performing music, and many other details. The bulk of the collection is the musical and instrumental chamber music. To her includes 163 duo of performers for different, 184 sonatas, a trio of 581, a large number of quartets, quintet, sextet, septet, octet for various composition ensembles. Widely represented tools concerts, which are counts over 100. In the collection are different genres clavier music: a large number of sonatas for one and two harpsichord, fantasies and paraphrases on rondo themes from operas, songs, polyphonic compositions: fugues, Tokat, prelude of fuhamy. Among the large number of works are designed to domestic music-making [8], which was widespread at the time. Also in the collection are several »Music magazine for women», published at the end of the XVIII century. in. They mainly published chamber- instrumental works. List publishers of sheet music collection encompasses almost all of that time printed centers of Europe: Paris, London, Leipzig, Berlin, Vienna, Amsterdam, Hamburg. Family Razumovsky made a significant contribution to the development of culture and education. Representatives of this family: Kyrylo Razumovsky, the last hetman of Ukraine, and his sons, Alex, who was Minister Education of Russia, and Andrew, eminent diplomat - vyhodtsi with Ukraine, and will continue his life did not break ties with the Motherland. They were also patrons, musicians to continue their lives collected, bought note. Count Andrey Kirillovich - wrote Vasilchikov - was an ardent music lover, the love music he inherited from his father and uncle [2; 455] .he bad fiddled at least as had this tool to lead the party of the second violin in the quartet, which consisted of the famous musicians professionals. In Vienna, where he was Russian ambassador, he performed works involving Haydn, Mozart and Beethoven. Talented musician from Vienna »elite» - Tun sisters (one of They became the wife of A. Razumovsky) - often accompanied him on the harpsichord. Is groundless the idea that the Ukrainian theme underlying Beethoven string quartet dedicated A. Razumovsky communicated famous composer is it. By statement contemporaries, »And that lord liked Ukrainian folk songs» [6; 336]. And thanks to O. Razumovsky were created directories musical collection. Although not all notes survived to our time, but we can learn about their former existence. In 2004 the book Head, Department of formation Vernadsky National Library named after musical funds. Vernadsky, PhD. L. Ivchenko art history »Reconstruction musical collection of count A. Razumovsky, the catalogs XVIII century.» Consider contemporary artistic practice execution chamber and instrumental music of the musical Razumovsky family gathering in the post-Soviet timespace. It should be noted that for many years Soviet-era performance of music from this collection was impossible for ideological reasons. And with the Ukraine gained independence the situation has changed, and the musicians got a creative freedom search. One of the first musicians who recovered and performed music from the musical collection Razumovsky was Valery and Elena Suprunyuk. Their salon-ensemble »Razumovsky Collection» appeared in the early 90s of last century. First, Valeria had to rewrite notes the collection, because the paper two centuries ago can not be photocopied. »Last year we had with Elena rewrite almost 400 sonatas, - says Vladimir Suprunyuk - and it was incredibly hard work. After all, XVIII century. notes copied by hand, published typographic way was extremely small. And, naturally, there were mistakes. Some works, such as Corelli, were recorded without a pause. Had, in fact, recover, play the composer’s intention.» Over the years, the ensemble »Collection Razumovsky» prepared and takes ten thematic programs. Among them - Austrian, German, Italian, French, Czech music XVIII century, Mannheim concert, 12 trio sonatas A. Corelli. The first performance took place at the House of Scientists. Then it was over 20 concerts in Kyiv Mohyla Academy. Musicians began to notice: written press, was invited to the embassy. Through the Internet Ensemble find descendants Hetman K. Razumovsky and invited the family to speak in their house in Vienna. There were concerts in Germany, Holland and the Benelux countries. I remember concert performers of the European Parliament [5]. The ensemble has released several CD recordings trio sonatas Arne J. Bach, W. Kramer, I. Frantslya, P. Kauchello A. Lorenzyty, L. Bokerini, violin duet E. Barbarello, chamber sonatas A. Fyltsa and many other fragments of chamber music. A lot of attention to the implementation of music and organizing events with musical collections Razumovsky People’s Artist of Ukraine EO Basalaeva. It notes in an interview: »Family Razumovsky made an enormous contribution to the development of professional music, enriching the repertoire. When I was preparing XIV concert series »Elite evenings», devoted to musical collection Razumovsky, it faced extraordinary treasure. Notnytsya part of the six leading musical collections in the world. On it, like the Encyclopedia You can explore the musical culture of the time. I’m going to continue to explore the collection Razumovsky. By the way, the personality of Andrey Razumovsky, diplomat - a fine example of philanthropy. Creating quartet, he himself played in it. In Vienna, founded the Ukrainian Center choir, helped Beethoven, funded education Christoph Gluck - Austrian composer. It is interesting in this regard and the opening of the collection Razumovsky. Several concerts I realized with the support of the Austrian Embassy and the Austrian Cultural Forum. It turned out that the works of Austrian musicians XVIII century., Found in the collection are not listed in any catalog in the world. Among them - Karl von Dyttersdorf, Vanhal, Pleyel and others. By the way, the name is familiar to many musicians Pleyel not only as a composer, a pupil of Haydn, but also as the founder of the famous company producing pianos. His work I I would like to introduce wider, but by examining the library, found that most of the works composer kept only »in Razumovsky.» Thus was born a few concert series »Music Austria. Joseph Haydn and his entourage. » What I adapted to perform, is in my repertoire, included in the student’s program department. I plan to continue to expand this repertoire »[12]. AND continuing soon happened: in December 2013 r.v National Philharmonic of Ukraine under VIII International Art Festival »Dialogue of Cultures» and international concert series »Elite evenings of chamber music Basalaeva Eugenia «was held XXV concert» Maestro Vivaldi and Italian music from the musical collection Razumovsky »on the occasion of anniversaries: 325 anniversary of outstanding Italian composer Vivaldi (1678-1741 gg.) and 285 anniversary of a famous politician, last Ukrainian Hetman K. Razumovsky. Unique pre-Christmas festive event was devoted Day as a diplomat. Sounded works of Italian composers John. Tommaso, G. Korulli, J. Payiziello F. Turin, works by Vivaldi and Bach. The concert was attended by People’s Artist E. Basalaeva Ukraine (piano, harpsichord), People’s Artist of Ukraine Ivan Kalynovska (organ), winner S. Kolko international competitions (bass), National Chamber Ensemble «Kyiv Soloists». Music Collection Razumovsky also found its place in the works of famous Ukrainian klavesynistky AN Sviridenko. In 1999 the concert program was prepared and recorded in CD called »Music from the Razumovsky», which includes chamber and vocal compositions and three sonatas for harpsichord solo (1786) Czech composer L. Kozheluha. In the middle of the XVIII century. believed that the works written at the beginning of the century, obsolete, even if they are recognized as valid art [1; 4]. But now there is interest musicians returning to life ancient music. The global trend revival music XVII-XVIII centuries and earlier, the seizure of such music in Europe, finds its display in concerts, music festivals and in the post-Soviet countries. Using restored and reconstructed tools help recreate the spirit of a certain era. In terms of presentation of musical material there are some questions about the sale: a lot of old music manuscripts preserved in the drawn in unusual for modern musicians old keys, party accompaniment can be spelled out as tsyfrovanoho bass that need additional entries in the usual form or improvisation skills. Methods of implementation complex and diverse ornamentation, deciphering melisms - issues that have been addressed many musicians were involved in early music starting with A. Dolmecha, founder authentic performance [13]. Prominent Austrian cellist, conductor and scholar N. early music Arnonkur also involved issues notation. He vidmichav in its book: »Personally, I am very skeptical about the possibility of a full understanding of the past. Need always keep in mind that all treatises XVII or XVIII century. written for their contemporaries, and each author knew that his reader has a certain amount of obvious information that is not worth mentioning in treatise. We were not the recipients of these teachings, and his contemporaries. All those valuable information open its importance to us only when we have the aforementioned knowledge. So, unwritten (granted) is more important than the text! Anyway consider that the study of primary sources leads to frequent misunderstandings and quotes from publications that have appeared in recent years, should never serve as proof, because using quotes taken out of context You can just as easily prove otherwise. I would especially warn against revaluation our ability understanding of historical music. Only when discover the ancient teachings and content instruction, a logical interpretation of the music, which is governed by these rules [1,14]. In musical records of the seventeenth and eighteenth centuries. When the music sounds, say, in F minor, and with only three keys recorded flat (si, E, A), the latter also (re) designated as a random each time mark. This example suggests that the composer’s thinking focused on the perception of major-minor tonal system, however, subject to the requirements medieval treatises implements its plans to one of the church modes »[7; 99]. In all the circumstances, we have little in number, but substantial in content, music series Works performed »live» (compared to the enormous amount of music collection). Promoter and performers are in the majority, Ukrainian musicians, but the collection value and abroad. Italian researchers interested in music manuscripts of his countrymen: among copies of the collection there are only copies in the world. Russian musicians included in the part of the festival Earlymusic, which is dedicated to ancient music, the Trio in G minor L. Skyatti (for copies of notes placed a request to the National Library of Ukraine) [10]. Unfortunately these festivals are little common in Ukraine, although the conditions for this exist: there Many historical and architectural monuments, where you can carry out such projects. In connection with Razumovsky Hetman residence referred deaf, Baturin, which could become the focus popularization measures for collection Razumovsky. In 2013 to mark the 285 anniversary of the Hetman KG birth Razumovsky in Baturin held cultural and artistic event »on A feast of Hetman »in K. Razumovsky palace, a mini-concert of teaching staff Bakhmatsk School of Arts, presented the exhibition »Recent years K. Razumovsky in Baturin» and Concert Academic Chamber Choir. Bortniansky Chernihiv Oblast Philharmonic Center festivals and concert programs. Also in 2013 for the second time in Baturin held a regional music festival-contest of young performers named. A. Razumovsky. West received beginning in 2012 to commemorate the 260 anniversary of the birth of Andrei Kirillovich RSA order. We hope that in the future musicians of the world will be open to fans of art unknown masterpieces from the collection Razumovsky.

References 1. Music Arnonkur N. language sounds. Way for New Understanding of Music / N. Arnonkur. - [Without Location, without Manuscript]. - 99 p. 2. A. Vasilchikov Semeystvo Razumovskyh / A Vasilchikov. - SPb, 1880. - T. 3. 3. A. Harmel Music in Ukrainian estates of XVIII-XIX centuries. // // A. Harmel Music. - 1998. - № 3. - P. 26-27. 4. Ezhenedelnyk, 2000 »[Electronic resource] / Access: http://www.2000.net.ua 5. Ivchenko LV Rehabilitation musical collection of Count AK Razumovsky the catalogs XVIII century / L. Ivchenko. - K., 2004. - 644 p. 6. History of Ukrainian music. T. 1 / USSR. Inst Mist Island, folkl. and etnohr. them. MT Rila; edkol .: Gordiychuk M. (ed. ed.) and others. - K., 1989. - 448 p. 7. Kaplienko Ilyuk Yu-Ukrainian professional music in the context of intercultural relations XVII-XVIII centuries. : Monograph / Yu-Kaplienko Ilyuk. - Chernivtsi: mob. nat. University Press, 2013. - 280 p. 8. F. Couperin harpsichord art on games / F. Couperin. - M. Music, 1973. - 152 p. 9. »Do not take everything yourself. Otday and on blahye affairs »[Electronic resource] // BUSINESS. -2003 G - Number 31 (Aug. 5.). - Access: https://www.aval.ua 10. Written notification materials correspondence with A. Penyuhinym 2014, personal LIBRARY author. 11. Ukrainian culture, discourses and discussions XXI century: Monograph / Science. Ed. VD Shulgin, SN Sadovenko. - K.: NAKKKiM, 2012. - 264 p. 12. Verbal messages, materials interview with EA Basalaeva 2014 // LIBRARY personal author. 13. Shreyer-Tkachenko OJ History Ukrainian music / AY-Shreyer Tkachenko. - K.: Music. Ukraine, 1980. - Part 1. - 197 c. 14. Shulgin VD Essays on the History of Ukrainian musical culture: Source study Search / VD Shulgin. - K., 2007. - 275 p. 15. Dolmetsch A. The interpretation of the music of the XVII and XVIII revealed by senturies contemporary evidence / A. Dolmetsch. - 2nd ed. - London, 1946. - 502 p.

Summary The article deals with the problem of reconstruction of ancient music collection of musical Razumovsky, and events of contemporary art, which performed works from the collection. This collection of manuscripts XVIII. kept in the National Library. Vernadsky and employs almost 1,700 pieces of music 200 European composers of the seventeenth and eighteenth centuries. Keywords: musical collection Razumovsky, XVII-XVIII., Old music, authentic art.

Summary Yeliseyeva K. Musical collection of Razumovsky is in the process of cultural heritage of Ukraine The article deals with the problem of reconstruction of ancient music from the musical collection of the famous Razumovsky Hetman kind that took exceptional place in Ukrainian culture as its patrons. This family, one of whom was Minister of Education, and the other - an outstanding diplomat empire, also greatly contributed to a creation and Russian culture. Family Razumovsky had a powerful music library, palace, later transferred to one of the descendants of this – the Russian diplomat Andrei, who had good relations with YHaydnom, L. Beethoven and other famous artists of the era, in concert structure, which also had an opportunity to realize many outstanding musicians XVIII- XIX centuries. The article also referred to the events of contemporary art, which performed musical pieces from this collection. This collection of manuscripts of the eighteenth century. preserved today in the Music Department National Library. Vernadsky and employs more than 1,700 pieces of music 200 European composers of the seventeenth and eighteenth centuries. Its advantage is that it is stored note collection of various composers’ schools: the old and classic Viennese School, as well as Italian, French, Prussian, English and others. European art schools. The author analyzes the specific music during the XVIII-XIX centuries, reveals the general state of cultural practices in contemporary gentry-aristocratic culture has attempted analysis of existing musical gatherings, examines the causes and characterizes a number of thematic art journals discharged from abroad to meet the spiritual needs of local elite. It is noted that under the influence of one of the members of this famous family, L. Beethoven made famous instrumentation H. Kalynovskoho Ukrainian songs »Rode Cossack beyond the Danube», which is now in the repertoire of many performers. It created a musical catalogs A.Rozumovskyy own collection, by which made possible modern reconstruction of the above collection. It is in the materials and articles about musical form using sample collections in modern performing practice their popularization by performing contemporary music ensemble composition »Collection Razumovsky» and 10 thematic programs confirm both the popularity of the band and the music collection costs. We analyze personal collection of musical composition popularizers Razumovsky, their role in the promotion of Ukrainian culture. The role of intercultural contacts in today’s conditions to support the popularization of this heritage; The essence of the first international concert cycles of popularization and of the collection, and works of Austrian, German, Italian and other composers whose work is widely represented in the sample folios and sheet music collection. The author found a lot of trends, visible in the performance of this music - namely the need to transfer all musical manuscript material in printed or electronic format, which will allow it to promote and preserve for posterity. There are problems with the authenticity of musical performance as instruments characteristic of the above-mentioned period, in fact, no longer exists. Among other things, the article notes, it and the understanding of contemporary music since last as numerous scientific treatises of the past period were written exclusively for contemporaries who were actually in the material period and many of the authors deliberately omynalosya not ozvuchuvalosya, hoping for awareness scientific or musical public. So blind transfer achievements of past eras in today raises many questions for the perception of any text information, including music, - said the author of the completion of their scientific research. Thus, popularizing further collections will allow not only save Razumovsky collection, but also expand the boundaries of perception of cultural practices of past eras. Key words: musical collection Razumovsky family, seventeenth and eighteenth centuries, old music, authentic art, classical era of national culture, music, serf chapel, art magazines, theme works, composers, intercultural contacts, information perception of past eras, reconstruction. Abstract Eliseeva K.Y. Notnaya Collection Razumovskyh in the process of cultural Renaissance Heritage Ukraine Article posvyaschena problems of reconstruction starynnoy IZ notnoy Music Collection Razumovskyh, as well as events sovremennoho art, where yspolnyalys muzыkalnыe Works Collection. This Sobranie hranytsya XVIII century manuscripts in libraries Natsyonalnoy them. VI Vernadsky in Kiev and vkljuchaet vicinity of 1700 muzыkalnыh proyzvedenyy something morethan 200 evropeyskyh composers XVII-XVIII centuries. Keywords: Collection notnaya Razumovskye; XVIII Century; starynnaya Music; autentychnoe yspolnytelstvo. Received 10.11.2014

UDC 246: 247: 261.6 I.M. Dundyak

UKRAINIAN CHURCH HISTORY ART

Second half of XX century .: musefication and art EDITION Background. In 50-80 years of the twentieth century. talk aloud about church art in Ukraine was not accepted and generally safe. State »ideological machine» of the Soviet Union stubbornly atheistic propaganda was being held, so continued to destroy churches, church vandalize things and more. Important milestones in the preservation and transmission of traditions and foundations of religious art at that time, despite ban can be considered musefication, restoration Ukrainian religious art and scientific research activities in this field. Actually this was done by some prominent figures of Ukrainian culture that time. Among them distinguish Logvin G., B. Voznytsky, L. Milyaeva, V. Sventsitskoho P. ZHOLTOVSKOGO, B. Ovsiychuk. Lighting scientific and practical activities of these scientists and relevance of Intelligence, which will be an important part of research into the history of Ukrainian church art of the twentieth century. Analysis of recent research and publications. Total comprehensive research Ukrainian Dr. religious art. Pol. The twentieth century. Today there. Some aspects of the article briefly covered few researchers [2-5], because intelligence is built on little-known facts collected by author own. The aim of the research is fixing some significant facts and events of the second half. XX cc. accompanied musefication monuments of religious art and contributed to the birth of scientific skilful editions of this industry. Research results. After World War II museum, art and science, in general, Culture of Soviet Ukraine were in a deplorable state, as war swept it twice territory. The Soviet authorities tried to take care of the culture, but church art in this list included. Therefore fieldwork old churches Ukraine, collection, restoration and attribution and icons other church artifacts was a thankless task, and sometimes risky. Such activities could harm any person skilled in the art. However, were brave, fans of his case among museum professionals, art. This intelligence provided museumification analysis of all aspects of religious art in Ukraine the period after World War II, because the museum site, catalogs, monographs highlights history creation of most museum collections of religious art. Although we have to understand that for dry museum inventory numbers hide the reality of the time, figures, interesting and tragic history. The facts below will help to understand the circumstances surrounding the musefication objects of religious art in 50- 70 years and the publication of books on the subject. In the article the events surrounding the rescue and restoration of the famous monuments of religious art, Logvin found G., B. Voznytsky, L. Milyaeva. These facts are given mainly for memories L. Milyaeva - witness and direct participant of those events. Today this type of fixation memories are most needed, as are the last witnesses of life - true information carriers the circumstances and personalities of those difficult times. These facts (sometimes curious, sometimes cruel) based true story preservation of religious art in others. Pol. The twentieth century. So first of several biographical facts from the life of L. Milyaeva: 1950 – graduated philological faculty of the University of Kiev in 1949-1964 gg. worked in the National Art Museum of Ukraine (National Art Museum). Expedition carried out by Ukraine to replenish museum collections; from 1962 to this day teaches at the National Academy of Fine art and architecture. For art students Milyaeva LA - one of those rare teachers who are tuning fork profession. She works at the Department of Theory and History of Art from the date of foundation and always makes the highest demands on the environment, having good reason for this, because at first she always addresses them yourself. Therefore, it is fair to consider that the museum - not private structure. »First of all, there must be records and appropriate storage conditions exhibits in principle exposition work, educational activities - another important element. But most important human qualities can not register their presence impossible demand. They are either there or not »[2]. We therefore propose several stories related artifacts known Ukrainian musefication church art. Famous Pyatnitskaya church in Chernigov in the program was one of the first travel L. Milyaeva Ukraine, during which she studied and collected the monuments of religious art. Heroic, she said the act was a restorer Pyatnitskaya church restored immediately after World War II, P. Baranovsky. During 1943-1945 years carried out conservation work and restoration continued long 17 years. Restorer almost did not leave the house, lived there for evil »party band Chernihiv» which, considering him insane, tried by all means to destroy the temple (quietly undermined one of the pillars of the church in his absence) [1]. Even at night P. Baranovsky did not stop their work, and L. Milyaeva questions about light in the belfry of the third night he said: »I hoped there pendulum Foucault as St. Isaac’s Cathedral in St. Petersburg. I want to hang it here, that the stables are not made »[1]. AND only in 1962 the restoration of the church as close to the original, was completed. Because of the researchers managed muzeyefikuvaty it and play with great accuracy all forms of construction, one of the greatest monuments of ancient architecture. Thanks to this indifferent people Friday elegant church stands today in the heart of ancient Ukrainian city. Since 1991 Friday Church - the current church Ukrainian Orthodox Church and favorite prayer of many residents of Chernigov. The elements of detective story and was the first exhibition of religious art in post-war Ukraine in the National Art Museum of Ukraine in Kiev. According to L. Milyaeva this exhibition appeared illegally, because Soviet museums were ideological weapon, which had no place to be »opium for the people - religion. » Museum staff made her sneak out fondivskyh icons in the hall right Wings Museum. And if the authorities were among the visitors (especially party), the room and closed pretended that there is no room in the exhibition. Thus, in this hall »Deesis» on p. March, which is in the current museum, hung so that when you come into the room, it just can not see [1]. L. Milyaeva next step towards the preservation of religious art was garbage religious icons and antiquities of the existing churches were known through her numerous trips Ukraine in the company of G. Logvin and other famous artists. Most vividly remembered cases related to exhibits that are the pride of the museum collection NAMU. »Volyn Virgin» came to the museum follows. G. Logvin during numerous field studies of religious art liked Volyn because of Volyn attractions Related topic of his dissertation. During one of the trips in the temple town. Luck’s attention attracted the icon of the Virgin is built in Kyoto mahogany in the classical style, in an expensive robe XVIII., Very obscured, but with a wonderful view eye face [1]. Explore this icon in place of He had no time opportunities and time. Upon arrival L. Milyaeva to Lutsk and talking with local Bishop last realized that museums preserve the integrity of this icon is more likely than operating temple for the anti-religious policy. That was received »good» of ministers church. However, the elder of the church refused to transfer that icon. As his last argument was named permission of Lutsk City Council. Such requirements museum worker is not stopped. In that time was another wave of anti-religious campaigns of the city and gave the nod, accompanied her permission the words »and takes with the Church ...» [1]. Icon when no objections are submitted to the Museum collections a year and it was under restoration in St. Petersburg. Byzantine polychrome wooden relief XI. »St. George with scenes from his life,» Pearl today National Art Museum collection, was considered extremely rare and lost before the war. About him there prerevolutionary publications; it was before the revolution church Harlampiyevskomu in Mariupol, and Followed it been lost in Mariupol steppes. At the initiative of the graduates students of theater, who worked in Mariupol Theatre, LA Milyaeva together with G. Logvin went on a mission search for the lost interest. »All the churches at that time were closed in museums Mariupol no one knew about it, ethnographers also shrug. Forced to return empty-handed, but need piece permit was noted in museum administration, which was in a small Rural houses in the courtyard of the museum. Even leaving the house pushed the door AG Logvin in subsidiary room (there rags, buckets, brooms), instead of the floor, rotate face down, lay this icon. It was 1965 and I was not working at the museum, so on arrival in Kyiv say Chlenova LA - immediately take restorers and export this treasure »[1]. When was the story of the restoration in St. Petersburg this icon, because it is incredibly damaged, except for improper storage, burned it twice. Even in Kiev occurred stories of »travel» between existing icons and churches museums. In the late 60’s. One of the leaders of the religion department at Kyyivmiskradi, unlike its predecessor »thief», decided to describe the artistic monuments in existing churches, ie inventory something for which he is responsible. There was a commission composed of G. Logvin, L. Chlenova, Milyaeva L. et al. whose task was obsliduvaty all existing church and discover that there are valuable. An interesting story happened during the inspection commission Pokrovsky nunnery. Caught Commission to the monastery only the second time because GM was able Logvin his authority and encyclopedic knowledge of religious art convince the abbess and nuns date permit examinations monastery [1]. »We go to the bottom and see the monastery church icon Virgin in full growth, ending oval. It is quite dark, dirty, but we G. Logvin look into and think that it reminds us where and already seen something similar? To the icon on the sides Virgin cryptograms, but they are placed in such good cartouche with garlands that keep mind. AND remember that the cross is seen in the iconostasis Trinity Gate Church of the Kiev-Pechersk Lavra. Remove sizes, go to church in Lavra, and there is no icon of the Virgin in the iconostasis, something a random inserted. That was an icon and Trinity Church. Then, this icon was under restoration and now she’s in the iconostasis »- says L. Milyaeva [1]. B. Voznytsky - an outstanding figure in Ukrainian art and museums. Thanks Olesko it contains a unique icon of Volyn and Galicia brought expeditions Picture Gallery gallery cleared and carefully restorers; some rooms of the castle he devoted Ukrainian icon. He brought from Buzka icons excellent mid sixteenth century. Peter and Paul, on rare iconography icon of Our Lady admiring the beginning of the sixteenth century. from Volyn with. Dorosynya (the expedition participated G. Logvin), many works by artists of the seventeenth century. including Kondzelevich J. et al. Among Lviv had two famous icons that are especially revered. One – shrine Dominican Order: Virgin Hodegetria, as later became clear XIV - early XV century. Removed Poles after the war to Gdansk; second - Armenian icon of the Virgin Mary, which was in Armenian Cathedral. During the war she was gone. And somehow it came V. Vuytsyk; icon was in the family of Professor A. Otko Lviv Polytechnic. Vuytsyk began to persuade the owners, that they gave the icon to the museum. Informed the Voznytsky recalls L. Milyaeva. They began to agitate family together. Finally succumbed owners, I believe that they are convinced, above all, selflessness museum staff. When the icon cleared, it turned out that this is not ancient icon of the city. Its dated Fourteenth century. and it initially comes not from the Armenian Church and the Cathedral of Lviv (evidenced inscriptions on the back of restoration in the sixteenth century. who was sketch in oils) [3]. »Boris was happy icon, and originally planned that it will be on display in one of the Lviv Churches (Church of St. John the Baptist), which will become a museum of icons. He dreamed that the icon rule in this church, which once established Hungarian Constance, wife of Prince Lev Danilovich and. Subsequently icon moved to LNHM where Voznytsky always cared that it was properly lighted. We with Boris has repeatedly sought answers to questions that we put this icon: its origin, odd background color, no cryptograms Virgin »[4]. Equally intriguing were the events associated with the release of individual books Logvin AG. He is one of the few who was able to see and show other Ukrainian art from the tenth to the early nineteenth century »with aerial view », all its kinds and genres, because his knowledge was encyclopedic and universal. As remarked M. Syelivachov researcher on this: »... he almost single-handedly Ukrainian midyeyevistyku of art embodied in architecture. At the time when this area Knowledge Communist Party strongly limited government, non-partisan issue in Logvin managed the best possible performance when printing two dozen large volume of books and albums, more than one hundred basic sections and articles, apart from newspaper publications »[5; 120]. In addition to scientific work, all his life he devoted to the case at first glance quite impractical, which is unable to bring any official honors, no big money, no titles and regalia: decades of Syzyfa stubbornness he tries to patch up the giant »black hole» in our culture to bring for future generations at least the memory that the Ukrainian people had ever true, great world-class architecture, architecture is quite original and not borrowed, does not need someone else indulgence that we - not freaks European crossroads, as full members of the family of nations, cultural nation, the legitimate heirs of their parents and ancestors. [3] Field research sites (churches measurements, photo fixation), which were then carefully analyzed and attracted to the scientific, covered in various publications, performed during many expeditions throughout the Ukraine. »We drove mostly hitchhiking, carrying all their belongings and maintenance Gear in hand. His special line for measurements of architectural sites was in a case, similar to a grenade launcher. Once he was even arrested over this line »[1]. He had many talents of attention to the moment of his publishing books regarding: »An important part of these publications have pictures taken, printed and handwritten manifest Gregory Nykonovychem at a high artistic level. You should have seen how carefully he chose Recording optimum point, carefully establishes his (not the most expensive in Kiev 1960). large-format camera «Linhof-technique », more and more tuned parallax compensation mechanism, waited a favorable light for best results »[5; 120]. To the most famous works of the scientist belongs to the book »For Ukraine», published in 1968, Kyiv Publishing House »Art», which became a gospel to all who loved Ukraine, its history and culture. First of all art historical and ethnographic regions of Ukraine were considered as integrity, and most of the information it relates Ukrainian church art. In general, this the book became a milestone in Ukrainian sixties [3]. Interesting and circumstances of the birth of this unique publication. Sometimes in the 60 partnership, indifferent to the Ukrainian culture and art (G. Logvin, T. Yablonska A. Wednesday, NM Lopukhov, Yakutovych G., L. Chlenova, Milyaeva L. et al.), Roost in almost fit for a bus ride of the Union Artists of Ukraine and went in tysyachokilometrovi travels across Ukraine (average route reached 4.5 thousand kilometers) [1]. Virtually every kilometer journey G. Logvin accompanied by lectures on the land, which passed its historical events, artistic monuments and more. L. Milyaeva mentions about this as follows: »A journey ended with the bus finally out of order at the Botanical Garden in Kiev. Then the bus driver constant, this involuntary Listener lectures G. Logvin, said to him, »Gregory Nykonovychu and what do not you write everything that you we are told? ». The next day, G. Logvin applied in the publishing house »Art» on book». For Ukraine» and the application and lay there for a long time. B. Vecherskyy, which in those days was the compliance officer USSR and Derzhkomvydavu curator of the publishing house »Art», talked about the fierce resistance of the publication of the book »For Ukraine». Initially, the course went ideological accusations. In response Logvin came to a head Committee bag Marxist literature and quotations from Marx, Engels and Lenin to smithereens defeated their opponents [4]. But somehow it is the chief editor A. Mikitenko and said that his four months are removed from office because he was not at risk if the sign for publishing this book. Thus G. Logvin had to write it for a month and this was one of the first books on Ukrainian church Art, for the same church, church, church ... »[1]. The author worked on the publication day and night, even ill with a rare disease »pyschyy spasm» - writing dysfunction, while maintaining all other movements that takes the hand that tells the brain to stop. However’ve found a good doctor neurologist, which varies between «detached arm of the brain» [1]. Once there was a lot wiles (reduction of the book, reducing the number of illustrations, the elimination of Reference information block in a book, etc.). Thus appeared this unique, even today, the book. IS intention to republish »For Ukraine» in the present edition. This is definitely a very necessary thing, because the book is already became a bibliographic rarity. But the wording of the current - there are some doubts. After and book - document their day. And that is as it should be a document of the era republish without editing, perhaps adding and adding a number of illustrative scientific apparatus and Indices, removed in 1968 [4]. Although in context reprint thebook interesting is another aspect - research that remains to this day and the condition of objects described in the publication «For Ukraine». We can predict that the results are not very comforting. Conclusion. Historical events of the twentieth century. Unfortunately, brought huge losses church art, which hampered its natural development. Latent existence of the Ukrainian direction Art provided by many factors, including musefication, restoration and scientific study. Without them much more difficult would broadcast the traditions and principles of religious art today. Therefore the history of religious art, etc. Ukraine. Pol. XX century., Despite the communist tyranny, has unique page fearless knights and their guardian angels, no fanatical work and courage where there were many monuments of religious art, among them the note payment Logvin G., B. Voznytsky, L. Milyaeva.

References 1. Audio interviews with LS Milyaeva 06/15/2014 stored in the archives of the author. 2. A. Balashov Krыlatыe and wingless [Electronic resource] / Alexander Balashov. - Access: http: // korydor.in.ua/ interviews/1026-krylatye-i-beskrylye 3. Milyaeva L. Memories of Boris Viznytskoho [electronic resource] / L. Milyaeva. - Mode Access: http://namu. kiev.ua/ua/blog/view.html?nid=5 4. Pechersky V. phenomenon of longevity in the field of Ukrainian art history (up to 90 Anniversary G. Logvin) [electronic resource] / VV Caves. - Access: http://donklass.com/arhiv 5. MR Syelivachov Gregory Nykonovych Logvin / MR Syelivachov // Ant. - № 7-8. - 2002. - S. 119-120.

summary Highlights little known facts that accompanied musefication religious monuments in others. Pol. The twentieth century. and the circumstances surrounding the publication of books on topics which are related to Ukrainian ecclesiastical art. Faktazh described in the article associated with the names of famous art Logvin G., B. Voznytsky, L. Milyaeva. Keywords: scientific and artistic publications, church art, muzeyifikatsiya, mystettsvoznavtsi.

Summary Dunduak I. History of Ukrainian Church art of the second half of the 20th century: Church monuments and art critic publications The article analyzes the state of studying specific type of scientific literature on revealing the essence of Ukrainian religious art in the aforementioned period the second half of the twentieth century, at a time through many ideological barriers have many shortcomings that hindered not only the study of the monuments of national culture, but their physical safety. These questions logically associated with the state of the author conservation, especially religious architecture a certain historical period. The research highlights a little-known facts that accompanied musefication religious monuments of Ukraine in the second half of the twentieth century and the circumstances surrounding the publication of specialized books whose themes connected with Ukrainian ecclesiastical art, challenges his style, symbols and other purely by professional issues. The actual material described in the article associated with the names of famous scientists, art historians later Logvin G., B. Voznytsky, L. Milyaeva that their hard work has influenced the national culture. Analyzes the pages of biography, social and scientific activities that unfolded after obtaining their professional education also emphasizes attention to the little-known facts related to the specific problems of preservation of historical and cultural patterns in which they took part. The article shows the wide cultural contacts above figures public, the latter also attempts to contribute to the preservation of the national cultural heritage, to help professionals do; in this connection mentioned and analyzed some creative work of restorers, architects, heads of organizational and party structures that were responsible for matters of national culture in this regard. It is mainly about sacred monuments are located in Central and Eastern Ukraine, which was directed totalitarian state powerful influence that actively fought against the manifestations of religiosity in all dimensions; The attention to anti-religious propaganda, which caused significant damage to the spirituality of local people. The attention on specific steps destructive power on this issue. In this paper the many biographical facts from the life of individuals, certifying stages of art-citizen in 60-70 years of the twentieth century, his attempt to counter political pressure, as well as educational aspects of the activities of individual Ukrainian art. Research material relies heavily on the work of famous contemporary scholars whose professional prestige enjoyed respect in society. Posted broad historical and cultural background, based on which activities could turn those associates Ukrainian culture. Historical events of the twentieth century, unfortunately, brought huge losses of religious art that have hampered its natural development. Latent existence of the Ukrainian art direction provided by many factors, including musefication, restoration and scientific study. Without them much more difficult would broadcast the traditions and principles of religious art today. Therefore the history of religious art Ukraine the second half of the twentieth century, despite the communist tyranny, many organizational misunderstanding due to lack of education in individual managers, lack of desire resistance, etc. page has a unique and fearless knights and their guardian angels, no fanatical work and courage which there were many monuments of religious art, - concludes the author The collected material is processed and significantly expands our idea of the existing cultural potential of Ukraine and attempts to convey indifferent to their history and conscious individuals in the next generation of one of the difficult periods of national history. Key words: scientific and artistic publications, church art, musefication, art historians, the first professional scientific research, national cultural heritage, Ukrainian culture figures, restoration, rehabilitation, research, Ukrainian cultural practice.

Abstract Dundyak I.M Pages of history Ukrainian church art in the twentieth second polovynы .: muzeefykatsyya and yskusstvovedcheskye editions Predstavlenы maloyzvestnыe эpyzodы, kotorыe soprovozhdaly muzeefykatsyyu tserkovnыh dostoprymechatelnostey t W. Pol. The twentieth century. and circumstances, kotorыe soprovozhdaly editions of books Ukrainian church art. Facts articles related to names of famous yskusstvovedov Lohvыna G., B. Voznыtskoho, L. Mylyaevoy. Keywords: scientific hudozhestvennыe editions, art of the church, muzeefykatsyya, yskusstvovedы. Received 10.30.2014

UDC 78.03 »18-19»: 008: 301 N.V. Left

THE PROBLEM RECEPTION ANCIENT SACRED MUSIC IN THE EUROPEAN AND UKRAINIAN ART CULTURE OF XX CENTURY

Music being the twentieth century is complex and unusual picture - and not only because extraordinary (and unprecedented in the history of music) composers and trends diversity techniques that often bordering on pure experimentation in sound. One of the phenomenal modern phenomena European musical culture is increasing interest in the music of past ages (Medieval, Renaissance, Baroque). A special place in this area is occupied by spiritual works. The music of past ages captivated the concert stage. Since the time of performing activities B. Landovskoyi, during the XX century can be seen the emergence of new ensembles and soloists who knowingly only limit his repertoire of early music («Hortus Musicus», «Leonchardt Consort», «Schola Cantorum»», Madrigal «etc.). «In our hearing often seems surprisingly modern that written somewhere, say in 1690: mikromatyka, quarter-tones, both vocal and instrumental music – that generally considered the prerogative of the XX century. »- spoke in an interview with the head of the French Early Music Ensemble «Les Arts Florissants» William Christie in 1988 [1; 22]. From the outbreak traced musicologists interested antiquity: conducting research handwritten attractions statements contemporaries with give an idea about the features interpretation of ancient works. At least there is interest and by contemporary composers who ar e not only widely used in his works quotations from medieval works and some composers tricks techniques of previous eras, but also provide processing and transcription of old works. A detailed and meaningful idea of giving it in one of his articles N. Gerasimov-Persian [3]. Some of the author of example - orchestral interpretation »Cyrie» Mass of Guillaume de Machaut German composer Dieter Shnebelya (2000), numerous processing hocket Guillaume de Machaut »David» (1955-1997 gg.): »Quartet hocket to »David» Anthony Dzhylberta, »paraphrases» Dominica Maldauni etc .; using S. Gubaidulina passages of prose Hildegard von Binhen1. According to N. Gerasimova-Persian, one of the most radical manifestation of this trend was the creation of the musical Hildegard Binhensku - variety shows, which used some of the melodies created by the legendary nun. Consequently, old music sounds today everywhere. »This is a completely new situation in history - notes in his book »Music as it sounds» N. Harnonkurt. - Illustrate its small example: if you remove from the concert hall music of the past and perform only contemporary works, these rooms gaping soon be empty - exactly as happened in the days of Mozart, had deprived the public contemporary music, replacing its old, such as Baroque »[7; 7]. Today, seeing in musical life situation, a precedent which is not found in any of the previous eras, always, at all times music contemporaries considered the best creative achievements by predecessors, and only the XX century. introduced in this sense unexpected »adjustments.» Commitment listening to old music and almost complete indifference to contemporary professional art is undoubtedly symptoms of spiritual illness era. This point of view attached to numerous »chorus» of such unanimous assertions of modern European and native art. The critical state of spirituality of modern society led to the order today ancient spiritual art works by involuntarily oppose modernity Against the background of previous eras is the typical attitude to music of their own era and looks amazing unnatural. However, audience antipathy to modern works is explained not low the level of this music. Paradoxically, it is due to their artistic honesty. Do not have need to repeat here-known truth regarding its relevance and compliance time highly artistic works of art. Contemporary art reflects distorted spiritual world rights. Sadly to look at a mirror. So unwittingly directed to look a bit more attractive. It is hard not to recall in this connection creativity Alfred Schnittke, with its nostalgic allusions Baroque music taking place in most of the works of the composer. Polistylistyka - one of the favorite engineering techniques composer Alfred Schnittke - that there is an urgent need for dialogue human era postmodern previous eras. Old world constantly reminds himself in the works of Schnittke if light long been extinct stars, whose rays still reach the Earth. These retrospective reminiscences treated with a painful feeling »longing for the lost paradise.» The concept can serve as a composer If no objection statement on N. Harnonkurta contemporaries perceive failure antique works of their depth, substantive level, in any case, an alternative opinion. The leitmotif music by Alfred Schnittke is a tragic gap person with spiritual heritage of the past, its it is, in its horror, B and D and M in there. Painful note of spiritual estrangement with less power sounds in the novel, the German writer Thomas Mann’s» Doctor Faustus.» Yes, uprdovzh work writer always mention the pain Andersenovoyi Mermaid, which has a human soul, but longs for it - the pain, pursuing the protagonist of the novel A. Leverkyuna musician - the plot of the novel, the author dodekafonii tehniky2. Worth attention and an image currently on the first pages of the novel - funny »plants» inorganic origin, with curiosity research »grows» Adrian’s father, Jonathan Leverkyun: »... The vessel was three-quarters filled with liquid slyzkuvatoyu - namely soluble glass, and her days abounded bizarre hryadochka colorful sprouts confused heap of blue, green and pahinnya brown that looked like algae, fungi, polyps inviolable ... But in these naychudnishym bush was not their bizarre, spooky look up, and some of their inherent deep melancholy old … Leverkyun tank ... put one side of the sun, and the remaining three zatulyav from light and asthma – all dubious vipers, mushrooms, phallic stem polyps ... soon tended to by the sun, they are sought warmth and joy that simply is clinging to the wall lit and stuck to it. - And they are dead, - said Jonathan, and his eyes were tears »[5; 43-44]. Image is reproduced in its conceptual load accurate analogy retrospective polistylistyky Alfred Schnittke: in both cases cornerstone element of artistic expression is the same »Deep sadness» that tragic leitmotif runs through all the musical art of the twentieth century. The outlined problem and complement these essential components of the discourse: A) At the beginning of the twentieth century. outstanding klavesynistka V. Landovska active creative activity which was aimed at the protection and promotion of passionate works of early music, strongly denied any idea of progress in art: »To argue that Palestrina in the future evolution would become Kuhn and Bach - for some there Meyerbeer and that they put together, if developed, it would be similar to any contemporary composers - means to come to the net nonsense. Music - Schoolgirl not that good faith passed from class to class and only in our time received matriculation »[4; 44-45]. At the end of the century is identical opinion was expressed N. Harnonkurtom. B) In the book »Music as it sounds» N. Harnonkurt emphasizes the modern European trend of ignoring the conceptual depth of early music. Contemporary music consumers interested in these art works rather external beauty, »decoration» rather than content. This contributes to the generation many false interpretations, resulting in the current recipient has no real idea the music of the past or of contemporary music. The problems outlined N. Harnonkurtom is certainly relevant to national music culture. However, the reception features an ancient sacred music that observed in Ukraine, to some extent differ from the European situation. In this connection according to Austrian conductor should match (and in some ways - and oppose) the statements of N. Gerasimova-Persian, which highlights the phenomenon of interest in early music somewhat different perspective. Articles researcher devoted old (in this case - medieval) music is not about crisis of spirit, and of changing cultural paradigm in general [2], [3]. Interest in ancient music Ukraine, unlike in Europe, associated with the spiritual revival of the nation. Extremely deep and seems apt-Persian Herasymova explanation of the fact that a landmark of Old chant today is given advantage over partesnoe singing XVII. In her opinion, monodiynyy Against the background of previous eras is the typical attitude to music of their own era and looks amazing unnatural. However, audience antipathy to modern works is explained not low the level of this music. Paradoxically, it is due to their artistic honesty. Do not have need to repeat here-known truth regarding its relevance and compliance time highly artistic works of art. Contemporary art reflects distorted spiritual world rights. Sadly to look at a mirror. So unwittingly directed to look a bit more attractive. It is hard not to recall in this connection creativity Alfred Schnittke, with its nostalgic allusions Baroque music taking place in most of the works of the composer. Polistylistyka - one of the favorite engineering techniques composer Alfred Schnittke - that there is an urgent need for dialogue human era postmodern previous eras. Old world constantly reminds himself in the works of Schnittke if light long been extinct stars, whose rays still reach the Earth. These retrospective reminiscences treated with a painful feeling »longing for the lost paradise.» The concept can serve as a composer If no objection statement on N. Harnonkurta contemporaries perceive failure antique works of their depth, substantive level, in any case, an alternative opinion. The leitmotif music by Alfred Schnittke is a tragic gap person with spiritual heritage of the past, its it is, in its horror, B and D and M in there. Painful note of spiritual estrangement with less power sounds in the novel, the German writer Thomas Mann’s »Doctor Faustus.» Yes, uprdovzh work writer always mention the pain Andersenovoyi Mermaid, which has a human soul, but longs for it - the pain, pursuing the protagonist of the novel A. Leverkyuna musician - the plot of the novel, the author dodekafonii tehniky2. Worth attention and an image currently on the first pages of the novel - funny »plants» inorganic origin, with curiosity research »grows» Adrian’s father, Jonathan Leverkyun: »... The vessel was three-quarters filled with liquid slyzkuvatoyu - namely soluble glass, and her days abounded bizarre hryadochka colorful sprouts confused heap of blue, green and pahinnya brown that looked like algae, fungi, polyps inviolable ... But in these naychudnishym bush was not their bizarre, spooky look up, and some of their inherent deep melancholy old … Leverkyun tank ... put one side of the sun, and the remaining three zatulyav from light and asthma – all dubious vipers, mushrooms, phallic stem polyps ... soon tended to by the sun, they are sought warmth and joy that simply is clinging to the wall lit and stuck to it. - And they are dead, - said Jonathan, and his eyes were tears »[5, 43-44]. Image is reproduced in its conceptual load accurate analogy retrospective polistylistyky Alfred Schnittke: in both cases cornerstone element of artistic expression is the same »Deep sadness» that tragic leitmotif runs through all the musical art of the twentieth century. The outlined problem and complement these essential components of the discourse: A) At the beginning of the twentieth century. outstanding klavesynistka V. Landovska active creative activity which was aimed at the protection and promotion of passionate works of early music, strongly denied any idea of progress in art: »To argue that Palestrina in the future evolution would become Kuhn and Bach - for some there Meyerbeer and that they put together, if developed, it would be similar to any contemporary composers - means to come to the net nonsense. Music - Schoolgirl not that good faith passed from class to class and only in our time received matriculation »[4; 44-45]. At the end of the century is identical opinion was expressed N. Harnonkurtom. B) In the book »Music as it sounds» N. Harnonkurt emphasizes the modern European trend of ignoring the conceptual depth of early music. Contemporary music consumers interested in these art works rather external beauty, »decoration» rather than content. This contributes to the generation many false interpretations, resulting in the current recipient has no real idea the music of the past or of contemporary music. The problems outlined N. Harnonkurtom is certainly relevant to national music culture. However, the reception features an ancient sacred music that observed in Ukraine, to some extent differ from the European situation. In this connection according to Austrian conductor should match (and in some ways - and oppose) the statements of N. Gerasimova-Persian, which highlights the phenomenon of interest in early music somewhat different perspective. Articles researcher devoted old (in this case - medieval) music is not about crisis of spirit, and of changing cultural paradigm in general [2], [3]. Interest in ancient music Ukraine, unlike in Europe, associated with the spiritual revival of the nation. Extremely deep and seems apt-Persian Herasymova explanation of the fact that a landmark of Old chant today is given advantage over partesnoe singing XVII. In her opinion, monodiynyy Not by chance seen major order in relation to the minor as »big», more stable, fundamental. Repeated completion of minor works by Bach same majeure tonic mainly dictated precisely this property majeure. It is well known that the major scale consists of two completely identical tetrachord structure (tone-tone-semitone). Their ztsiplennya forms one of the highlights of hearing Illustrations known dialectical triad of »thesis-antithesis-synthesis.» The first step majeure scale - the most stable of sound - is associated with a particular Centre, basis, The essential foundation that gives rise to everything else: from tonic »born» and tend to her other sound range. (In this sense, the appropriate comparison is even modal system of planetary majeure system where tonic - Star resistant degree system - planets unstable - satellites of the planets. Note: minor tonic and it does not give such direct analogies - lacks sufficient «gravity»). Surprisingly interesting role in the organization of natural majeure fourth degree range. He perceived by the ear as the new, albeit temporary tonic, and the third degree, respectively, as introductory to tone him in pure diatonic chromatic implicit rejection phenomenon. The fourth stage acts a kind of »rival» tonic, »competes» with it, deny it. Subdominant bears load dialectical antithesis, it is - the focus of objections antipodal Center, Initial, a symbol of rebellion, bohobornytstva. When moving to the fourth degree, there is growth tension. Interaction with the next fourth, fifth degree symbolizes a peculiar way down Harmony sacred mystery victory over chaos. Temporary rebellion suddenly overcome appearance dominant exposes temporary and not genuine self-styled «tonic.» Moving to the top of the first degree marks the final victory, confirmed true tonic, Base, Center, Absolute. A kind of closed circle - affirms the sanctity and perfection of the universe. It is no exaggeration to note: as soon as depicted natural semantics majeure down claims the level of a coherent system of symbols, whose genesis lies in the purely physical phenomenon - secret natural overtone series. We do not deny that this analysis may seem (or) Description subjective impressions. However, major, down the same structure organically fit Christian cosmogonic system, eastern spiritual symbol »Yin-Yang» and dialectical law unity and struggle of opposites. In the course of further development of professional music tone slender lado-System turns in the twentieth century. - Atonality. Almost three centuries maintained a European musical mentality that sound mysterious temple, till it - just a few decades! - Was thrown down to the twentieth century. Instead, the ancient sacred music concerts Space is not »gaping emptiness»: people in hard vsluhayutsya unpretentious tonic harmony, subdominant and dominant finding in this music something that is impossible to replace most original sound experiments. Finally, we consider it necessary, not focusing on the negative aspects of the situation, illustrate the paradoxical ways of modern alternative music culture According to the professor of the Moscow Conservatory B. Yavorsky and states in the early twentieth century. B. Yavorsky phenomenon determines any music system at the same time as natural and as symbol complex system. Some scientist observing a certain extent even made us confirm above semantic analysis ladu3 majeure. However, the scientist focuses on mehanistychnosti major, triads (major, as the center down), justifying their opinion on its origin overtone series. Based on almost the same principles, B. Jaworski expresses statement directly our opposite: »... the entire music literature, based on a large triads, or rather, in his Basically, music is not art, and music industry. The mechanical principle tryzvukovosti outlived its »[8]. The scientist commented as follows evolution of broadcasting music in the twentieth century .: »Humanity in the quest for mastery of sound thinking upset the principle of relative stability principle indifference. The entire history of music from the XVII century. to date, is the effort of musicians bring all phenomena to a large triads as all special justification to cover everything. The inner ear has said he can not ignore the major triads as a phenomenon that defines all » [underlined by the author. - NL] [8]. There are many opinions and points of view on the ways of professional music today, and this article, unfortunately, contains more questions than answers. I want only express the hope that old sacred music concerts, numerous discussions underway around her interpretation, will do the job, and we manage to regain what is lost once on the way to the tireless mysterious new. nun, abbatysa, founder of the monastery. There was a diplomat, counselor ruling people, the author of letters, numerous books (medical, scientific, mystical). Created the first mystery »Ordo virtutum», which included 82 musical and poetic songs, collections »Symphonia harmonie celestum revelationum », containing 77 hymns. 2 This fact led to resentment by A. Schoenberg, forcing Thomas Mann added at the end Book note: »Perhaps it is useful to inform the reader that tracks manner described in the twenty-second Under the so-called dvanadtsyatyzvukova or serial, technology is in fact one of the modern spiritual property composer and theorist Arnold Schoenberg, as I did in any ratio provided the perfect person fictional musician, tragic hero of his novel. General music theory many chapters of this book its details are required Schoenberg teachings of harmony.» 3 In particular - comments on the nature rooted in the tonic and overtones interaction subdominant «Basic sound major, triads - «up to», and if divide »to» at fate, will (acoustic) something like the F-dur [subdominants - NL]»[8].

References 1. J. Gabay Rastsvet art. Oh problems yspolnenyya starynnoy Instruments / J. Gabay //Muzыkalnaya life. - 1988. - № 18. - P. 21-22. 2. Persydskaya N. Gerasimov, as a symbol of sacred monody / N. Gerasimov Persian-//Trudy N. Herasymovoy- Persydskoy. - Sciences. Visn. NMAU. Tchaikovsky. - K., 2001. - Vol. 15. - S. 13-20. 3. Gerasimov, N. Persydskaya Neomedyevyzm in Modern Music As the figure smenы kulturnoy paradigm / N. Gerasimov Persian-// Science. Visn. NMAU. Tchaikovsky. - K., 1993 - Vol. 6. - P. 6-13. 4. Landovska V. O Music / V. Landovska. - Moscow: Raduga, 1991. - 440 p. 5. T. Mann Doctor Faustus: The Life of him. composer Adrian Leverkyuna in his story friend: a novel / Thomas Mann. - K. Dnieper, 1990. - 574 p. 6. Sitenko Wanda T. Landovska concert in Kyiv panorama of the early twentieth century / T. Sitenko // Music in the space of culture. - Sciences. Visn. NMAU. Tchaikovsky. - K., 2004. - Vol. 33. - P. 198- 207. 7. N. Harnonkurt Music as it sounds / N. Harnonkurt. - The amount Cathedral, 2002. - 184 p. 8. Yavorskyy BL Bahovskyy seminar: Lectures in state-owned Moscow I tehnykume in 1924-1925 pupils. h: the manuscript (record SR Ryauzova) / BL Yavorskyy, 1946.

Summary The problem of the reception of ancient religious music in the twentieth century. Special attention paid to understanding ancient works on a conceptual level and at the level of music intonation; compared different points of view on this issue. Tags: sacred music, old music, reception, twentieth century musical language, musical intonation Summary Liva N. To the Problem of Reception of Ancient Sacred Music in European and National Art Culture in the XXth century Materials of this paper reveal another interesting page prominent in contemporary musicology, namely the strong interest in the arts of bygone eras and try to explain the reasons for this phenomenon. The problem of the reception of ancient spiritual music in the twentieth century. Particular attention is paid to understanding ancient works on a conceptual level and at the level of musical tone; compared different points of view on this issue. In particular, the specifics of playing spiritual music of the Middle Ages, the Renaissance and the Baroque, which retain many striking examples of knowledge not only of style, but also a system of musical interpretation in terms of modernity, when accelerated time changed musical instruments, was new and human awareness of the perception of thinking of past eras. The attention to created new types of musical ensembles that limit its activities exclusively execution of works of past centuries. This growing interest in music and contemporary composers who, trying to master performing technique, style of thinking of an era, trying to create the latest music technology. And this phenomenon has no explanation at all times because modern music has caused an increased interest in bringing not only a new means of expression but also thought. However, in the opinion of confirmation enhanced interest in the artistic heritage of past eras, the author draws a number of opinions of modern art from different countries (and Ukraine in particular), thus expanding our understanding of the relevance of the above issues. The basic idea of theoretical discussions can be summarized as follows: »Longing for a past that can not be returned – not to survive in reality, but the greater reproduced in the imagination, nashtovhuvala findings on all new evidence zirkosti and wisdom of people of the Middle Ages...». And further: »Today again man seeks to rise above fleeting (and more rapid) time and join the Absolute, plunge into the ever lasting moment during contemplation» (N.Herasymova-Persian). Musical art can not return to the musical language of XVII-XVIII centuries, but it was in ancient spiritual writings of modern man tries to find answers to many questions that puts today. This is confirmed by further analysis of modern musical practices, including the opinion of the famous Ukrainian researcher B.Yavorskoho expressed in the early twentieth century that »... the entire music literature, based on a large triads, or rather, its principle is not musical art and the music industry. The mechanical principle tryzvukovosti outlived his. »The scientist commented as follows evolution of music broadcasting in the twentieth century: »Humanity in the quest for mastery of sound thinking upset the principle of relative stability principle of indifference. The entire history of music from the XVII century. to date, is the effort to bring all musicians phenomenon to a large triads to justify all special to cover everything. Inside the hearing said that he can not ignore the major triads as a phenomenon that determines everything». I want only to express the hope that the author finally concludes that ancient spiritual music concerts, numerous discussions being conducted around her interpretation, will do the job, and we manage to regain what was once lost on the way to the tireless mysterious new. Key words: sacred music, old music, reception, twentieth century, musical language, musical intonation, scientific concept, the legacy of past eras, historiographical debate evolution in perception, a new musical language.

Abstract Lion N.V K retseptsyy starynnoy spiritual problem in evropeyskoy and Instruments Patriotic hudozhestvennoy culture of the twentieth stoletie Analyzyruetsya problems retseptsyy starynnoy spiritual Instruments in the twentieth century. In the center of attention - osmыslenye starynnыh proyzvedenyy at the conceptual level and at the level muzыkalnoy yntonatsyy; Various sopostavlyayutsya dannuyu point of view on the issue. Key words: Spiritual Music, Music starynnaya, retseptsyya, Twentieth Century, muzыkalnыy language, muzikalnaya yntonatsyya. Received 10.28.2014

UDC 78.27 O.B. Velichko

RETROSPECTIVE DISCOURSE INSTRUMENTAL PERFORMANCE IN WESTERN UKRAINE LATE NINETEENTH - EARLY TWENTIETH CENTURY.

The relevance of this article lies in the fact that recently the Ukrainian musicology increased interest in specific research in mainstream discourse analysis and past musical life present, present in scientific studies Syuty B., O. Kozarenko, M. Izhevsk E. Moreva, I. Kohanyk, S. spine, A. Coast, B. Demenko, M. Maksimov, S. Solanskoho, DA Onishchenko and others. Particular attention is paid to modern scientists as a musical rehionalistytsi, individual local cells and various aspects of musical life of a region. Therefore seems necessary update issues related to the development of instrumental performance, pedagogy at educational-methodical literature of Western Ukraine period Fin de siècle. The need for this arose Due to the need deeper comprehension of his musical past artistic roots You can define maxim »back to the sources.» By perspective that focuses the proposed exploration, directly or indirectly, drawn many researchers. Important sources for the scientific understanding of the various components artistic life and work of musicians studied period are the works of M. Zagaykevych, Yarosevych L., L. Kyyanovskoyi, T. and L. Mazepa Yasinovskyi Yu, T. Starukh, N. Kashkadamovoyi, Molchanova T., I. Hlibovytsky, J. Antoniuk et al. The purpose of the article - to outline the specifics and trends in instrumental performance Western Ukraine in late XIX - early XX century from the perspective of retrospective discourse. The process of professionalizing musical life in western Ukraine, which began back in the second half XVIII century., Reached its peak in the late XIX - early. Nineteenth century. and touched both vocal and choral, and so instrumental performance. That time marked by the emergence of a number of companies and associations. Must The Society of St recall. Cecilia (1826), »Galician Society of Friends of Music» (»Der Galizische Verein der Musikfreunden, 1834) 1, Music Man Singing Society» Harmony »2 (Männergesangs Musikverein »Harmonium», 1875, then officially registered as orchestral society) in Lviv; »Society nurturing music in Bukovina,» »Man singing society» »Shubertbund», «Harmony» in Chernivtsi; Music Society in Ternopil (1876) and numerous in3. Their organizers are outstanding European musicians (Naddnepryanschine – mainly Italians, French; Western Ukraine - Austrians, Germans, Czechs) who own performing work processes of the organization joined the artistic and musical life, instrumental performance and pedagogy. Among these could be called J. Elsner, FK Mozart, J. F. Rukґabera, Kessler J., K. Lipinski, C. Mikula, K. Umlaufa, A. Shevchika A. Hrzhimali and others. The making of performers instrumentalists late XVIII - the first half of the nineteenth century. endowed with special characteristics, because a large part of Galicia, Bukovina, Transcarpathia for centuries belonged to different countries - Poland, Austria, Romania and Hungary. Austrian and then the Austro-Hungarian school reform late eighteenth century. had a significant impact on development Music Education in Western Ukraine. During the nineteenth century. initiated the creation of numerous centers mastery of musical notation and music theory in the network of general education at various levels, both spiritual schools, high schools and private boarding schools, universities and others. Selection and creation original didactic literature for the course of study proves that public and educational nature study music, its high value in liberal education of youth. Religious brotherhoods actively taking care activities of schools, along with choral training singing, role assigned and instrumental performance. They acted in many cities, in particular, Rohatyn, Gorodok, Komarno, Lublin, Drohobych, Sambir, Chelm, Galich, Przemysl, Kamenetz-Podolsk, Kremintsi, Sharhorod, Nemiroff, Kyiv, Lutsk, Vinnitsa and others. In the late nineteenth - early. Nineteenth century. actively developing musical and instrumental pedagogy West Ukraine, however, under the influence of prominent European musicians: J. Mederich detonation Hallyusa, I. Shuppantsiha, J. Towers, J. Elsner, K. Lipinski, J. Kessler, J. Rukhabera, FK Mozart, Umlaufa K., A. Hrzhimali and others. Some of them worked in the Western Ukraine as church musicians, theatrical performers and conductors, teachers in private families of the local aristocracy (Capyehiv, Stazhenskyh, Baron, Cybulski, ŠIMONOVIĆ, Levakovskyh, Baworowskis, Potocki, etc.). An important trend for the development of instrumental performance in Western Ukraine given period was mastering European experience of training people from the Ukrainian lands. If most of the Dnieper it was Moscow and education Petersburg, is an important center of musical professionalism to improve the inhabitants of Western Ukraine became Vienna. Evidence supporting the Austrian government was initiating the development of culture it introducing artistic scholarships to talented composers, artists and writers, among which an important place occupied Ukrainian writers and artists. Ability to learn higher music schools of the Austro-Hungarian Empire, adopting pedagogical experience of leading experts of the Austrian capital Vienna and musical environment had a huge impact on forming performers instrumentalists, who came from Western Ukraine. In Vienna, they were the opportunity to study in private institutions and to attend lectures in Prague, Naples, Warsaw, etc. With regard to the scope of string and wind instruments, then leading role Study in Czech musicians and orchestral conductors. Another trend was the creation of local professional musical institutions on which formed the foundations of Ukrainian instrumental pedagogy. An important role in this process played religious schools (Greek Catholic seminary in Lviv Dyako- Teachers’ Institute in Przemysl, musical discipline programs parochial schools, teachers’ seminaries, schools, etc.), instrumental music classes at riznonatsionalnyh and singing organizations as the foci of spiritual revival of the region: »Boyan» (from 1891), »Education» »Russian Conversation» (1862) and »Academic Brotherhood» (1871). »HMT» with instrumental classes »Lute», »Harmony» with instrumental classes and school playing the wind in western Ukraine. Preserved documentary about the existence of instrumental classes in Polish Musical society of men singing «Harmony» in Lviv (1877), in which there was a brass Orchestra, which at different times led Pistl J., M. Fall, J. Kastorskyy. The organization operated free school playing the wind instruments (period of Business fell by about 1877- 1914 gg.). Instrumental classes Galician Music Society in Lviv transformed into Special Music School (1839), with classes of violin, cello, bass, brass instruments, then - in HMT Conservatory (founded in 1853-1854 gg.), which became a powerful Centre fostering professional instrumental performance of all western Region XIX century. Specific instrumental Ukrainian plekalasya education first at home, often Ukrainian and educated at the conservatory HMT, however, own a cell was established »Musical circle» in »Boyana Lviv» (1897), which had classes violin and viola. They created the foundations of professional pedagogy that served as the basis for the formation of multi-level system of education rehionu4, leadership of which belonged to the aforesaid HMT Conservatory, Music Conservatory. Karol Szymanowski (1902) and the Higher music Institute. Lysenko in Lviv with numerous regional branches in Galicia. Further growth and development of centers of special education in the nineteenth century. - Early. The twentieth century. Caused broad use of methodological and didactic literature of leading experts in the field of European training instrumentalists-executors. For example in the library in Lviv National Music Academy. Lysenko formed on the basis of leading libraries centers of music, including instrumental education in Western Ukraine, Galician Conservatory Musical Society, Lviv Music Conservatory. Karol Szymanowski, Supreme Music Institute. Lysenko - a unique collection of up to didactic and training repertoire. These are in particular incunabula books from various specialties European conservatories (Paris, Prague, Berlin, Brussels, Leipzig, Bologna, Dresden), including, School game on skryptsi5, violoncheli6, fortepiano7, fleyti8, hoboyi9, fahoti10, orhani11. Among them – series the first European guidelines on appropriate specialties and lifetime publications [1]. In practice, the concert of Ukrainian communities ascertain the true appearance of soloists and virtuoso playing on harp enthusiast, such as E. Kupchinsky and M. Kumanovskyy, D. Andreiko, S. K., who created and concert compositions for this instrument. To do this, then spread the tool also wrote Vorobkevych S., V. Beskorovainyi, D. Sichynskyy12. In 1872 in Chernivtsi appeared Romanian Music and Song Association »Armenia» (»Harmony») in which was organized a brass band club and harps. »Club Tsytrystiv» (»Klub Cytrzystów») was Founded in 1886 in Lvovi13. Second, like the previous game Society of the harp This dates back to 1892 r.14. Exceptional role in the musical and artistic life of Bukovina owned by Johann Karl Umlaufu background, the then President of imperial-royal regional and municipal court enlightened music lover, translator, friend of Schubert and ardent promoter of his work. His artistic salons became the center of musical life in Chernivtsi, a significant center instrumental music. At the end of the century (in 1890) in a series of »n tsytryst» (10 issues) under »The collection of compositions on harps E. Kupchynskyi» were published and printed works; in 1885 in the collection choral works »Kobzar» published »Wreath of folk melodies» D. Andreyka, which included More than 30 Ukrainian folk songs. Later, out of print works for harp and other composers - C. and V. Bezkorovayna Kyrylovych, which published five issues for piano, flutes, guitars and stringed instruments [2]. Along with academic instruments (violin, piano), the broad strata of different social groups in a given period of popularity gained six - and seven-string guitar, torban, zither and Bandura, virtuoso performers appeared in these instruments. This led to the need for specialist frames and create methodical and didactic literature. The high level of methodological support demonstrates literature late XIX - early. The twentieth century. The author of the first textbook on game banduri15 was G. Khotkevych; he replied then tendencies akademizovanoho literature for folk instruments. This tutorial is designed for 20-string diatonic Kharkiv / old-world bandura (16 prystrunkiv, 4 bass) and consists of three parts: 1 - theoretical; 2 - Exercise; 3 - pieces for the bandura. G. Khotkevych focused on the origin instrument sound production methods, and ranks Bandura ways of rebuilding, gave general theoretical information. A separate section is explanation uses the textbook as a tutorial, specific signs of musical writing, employed in compositions for bandura (glissando, arpeggios, harmonics, tremolo, etc.). Among the artists who stood at the foundations of piano tradition in Galicia specified period, should be called Mozart F.- K. and J. (Johannes) Rukґabera - famous Austrian students musician of Czech origin, pianist and teacher J. N. Hummel. Important for education performers were pianists pedagogical concepts E. Wenzel, I. Moscheles, Chopin, Liszt, Leshetytskoho T., A. Esipova, E. Lyalyevicha, A. Michalowski and others. B. Kurtz contributed to development piano pedagogy western region, issued a handbook »Technical basics piano »(written work in Lviv issued in Prague), which is still considered to be in the Czech Republic classical piano textbook methods (including conservatories in Prague and Brno). L. Marek, who was a professor Conservatory HMT, founded and headed his own private school of piano playing (1870-1893 gg.), in which the study was based on the principles of listivskoyi educational system. For this he received the concession facility - secured state the right to conduct professional teaching (since he was called »First kontsesionovana Music School »). Own methodological principles and didactic materials compiled artist in the collection »Piano Exercise with the addition of a brochure about the system of piano playing »(1892) and methodical work» New piano exercises for proper carcass acquisition and development of technology.» Among the school teachers copyright - »strunnykiv» whose methodological principles and pedagogical Principles made influence on formation of professional-education system schools Dnieper and Western Ukraine, is the school A. Shevchika, L. Auer, Karl flash, S. Servachynskoho, Slyadka A. Yu Klenhelya and others. Thus, a specific feature of the instrumental performance in western Ukraine late XIX – early. Nineteenth century. was that the enlightened amateur extensive development, the possibility of special education abroad contributed to the professionalization of concert life, led to the emergence of numerous regional, ethnic, club, professional societies, unions, associations, music concert academies as institutions. Notes the evolution of music and instrumental needs repertory performers in the aforementioned period, due to traditions of music, relationship with the educational system in terms of integrative pedagogical principles. All this, as well as activities professional musical institutions and their representatives has been a powerful factor for professionalization of instrumental performance in Western Ukraine outlined period.

Notices 1 Later - Galician Musical Society (»Galizischer Musikverein», Since 1858. - »Galicyjskie Towarzystwo Muzyczne »). 2 Artistic Director of »Harmony» were Kachkovsky E., J. Galle, S. Nyevyadomskyy, B. Vshelyachynskyy, M.Soltys. 3 T. Molchanov notes the existence of numerous artistic associations in towns and cities in Western Ukraine: »Music Society» existed in Brody (1863), Drohobych (1877), Zhovkva, Sambir (1879). »Society of Friends of Music» (1869) - in Zolochiv (1869), »Harmony» - in Stryi (1880). »Music Society. S. Moniuszko »- in Stryi Valley (1893). »Boyan» - in Stryi (1894) Bolekhiv (1908) »Lute» - in Drohobych (1901), Zolochiv (1902), »Man singers society» - in the Great Bridge (1893), Ugne (1894), small towns (1908), Kulik (1909). »Music and Drama Society» - in Sokal (1899), small towns (1908) [3]. Up to four schools for educational complex close to the highest in Galicia, belong Higher N. Schytsinskoyi Music School, Graduate Music School. I. Friedman, High School Musical, Starkov A. Weber, City Music Institute D. Baranovsky, higher musical institution M. Rayss, Private Lviv Music Institute R. Fishlyera more. 5 Paschalski K. Szkoła na skrzypce. - Warszawa: nakład i wlasność K. Treptego, 1902; Berganz. Violin-Schule. New Method for the violin. - Leipzig: Jul. Henr. Zimmermann. - Part. I. 6 Richard Scholz. Das Studium der Lagen: Für Violine: gründlicher und erschöpfender Lehrgang des Lagenspiels. - Oertel, 1908; L. Marek. Nowe cwiczenia na fortepiano dla pozyskania prawidlowego uderzenia I rozwiniecia techniki. - Lwów: Seyfartha i Chajkowskiego, 1892. 7 Brandt Erster Lehrmeisterim Clavierspiel. Elementar-Schule: op. 38. - Leipzig: Merleburger; Mandl-Barda C. Kompendium der Klaviertehnik. - II. - Chromatische teil. Heft 1-8. - Wien - Leipzig: UE; Draesler J. Clavier-schule. - Wien: Artaria; Tausig K. Vorstufe: technische übungen für Pianoforte aus den hewärten Unterrichtwerken von Khina, Mertke, Pishna, Shwalam, und Wolf. - Leipzig: Steingräber - Verlag; L. Marek. Nowe cwiczenia na fortepiano dla pozyskania prawidlowego uderzenia I rozwiniecia techniki. - Lwów: Seyfarthai Chajkowskiego, 1892; methodical Materials: Adam L. Methode de Piano Forté du Conservatoire: Pianoforteschule des Conservatoriums der Mus ik in Paris. Simrock, 1815 - 55 p .; Bertini A. Méthode complète et progressive de piano (1-2 pieces); Schott B. Boquet: Tehnique Moderne du Pianiste virtuoze. - Bruxelles Schott Frerer was 1,858. 8 Fürstenau A. Bouquet des Tons: Vingt à quatre exercises, caprices et préludes, Op. 125. Bouquet des Tons. -C.F. Peters, Litolff; Täglische Stunden für die Flöte. - Henri Litolf’s Verlag. 9 Zellner J. Teoretisch-Praktische Oboe Schule. - Wien: Diabelli. 10 Roscher J. 12 Vortragsstücke für fagott mit klavierbegleitung, Op. 88. - Maiz: Schott’s Sohne; Coppah 60 ausgewählte Etuden: für Posaune oder Fagott mit Berücksichtigung derfschiedener Slüund Tonarten: 11 Berr F. Methode de Basson / trevue et auigmentee par Cokken - Paris: Alfonse Leduc. Cokken, Jean François Barthélemy. Méthode de bassoon: nouvelle édition de la méthode de F. Beer revue et augmentée, 2 vols. Paris: E. Gérard, ca. 1842. Paris: Leduc, 1851; Berr Frédéric. Méthode complète de basson. - Paris: J. Meissonier, 1836. 12 The composer turned to composing for harp in the early period of creativity, creating nearly 50 samples (not preserved). Published a published play »Silent Tears» issued »Stanislav Bojana» in one of 22- s issues Music library. 13 TsDIAL, op. 25 conjugation. 17468, p. 424; conjugation. 18259, p. 373-BC. 14 TsDIAL, f. 146, op. 25 conjugation. 18259, p. 375-BC. 15 His first part was published in Lviv in 1909 In 1923 and 1930 appeared enlarged and amendments reprint.

References 1. Antoniuk IM Printed music library collection LNMA them. Lysenko in the light of historical cultural process region: Dis. ... Candidate. Art. on spec. 26.00.01 - »Theory and History of Culture» / IM Antoniuk. - L., 2008. - 20 p. 2. Hlibovytsky I. Zither in the context of instrumental music in Western Ukraine in the second half of the nineteenth - early twentieth century. / I. Hlibovytsky // Visn. Prykarpat. Univ: art. - Ivano-Frankivsk, 2004. - Vol. VI. - P. 103-109. 3. Molchanov T. musical life and music education Galicia (Turning over the pages of music culture) / Molchanov // T. Bell. - April 30, 2012 - Part 4.

Summary We consider the specifics and trends of instrumental performance in Western Ukraine late XIX - early XX centuries from the perspective of retrospective discourse. Focuses on activities companies, educational institutions, artists and instrumentalists emergence of educational materials. Tags: singer, instrumentalist, music, professionalism, partnership, professional education, methodological and didactic literature, Western Ukraine.

Summary Velychko O. The retrospective discourse of instrumental fulfillment of Western Ukraine at the end of nineteenth – at the beginning of the twentieth century We consider the specifics and trends of instrumental performance in western Ukraine late XIX – early XX centuries from the perspective of retrospective discourse as a characteristic of contemporary regional studies, as evidenced by the emergence of a number of books and scientific articles in special periodicals (M. Zagaykevych, L. Yarosevych, LA Kyyanovskoyi, T. and L. Mazepa Yasinovskyi Yu, T. Starukh, N. Kashkadamovoyi, Molchanova T., I. Hlibovytsky, J. Antoniuk, B. Syuta, O. Kozarenko, I. Kohanyk, S. Shyp, S. Solanskyy etc.). The attention is focused on the characteristics of many cultural societies which not only stimulated activation of cultural life, but also improve the quality of special education, introduction to it all the wider public. It is a society such as »torban» Society St. Tsytseliyi, Galician Society of Friends of Music, musical society of men singing »Harmony» (Lvov) and »Society nurturing music in Bukovina», Musical Society in Ternopil and many others. Safeguarding cultural change in the situation in the Western territory. The article analyzes the composition of these spiritual leaders structures and their individual members, revealed the specifics of concert life in the region, further trend of cultural activities. Intercultural contacts traced artists of Western Ukraine and the Dnieper, changes in forms of cultural and artistic activities and forms of attracting new audience members. The specificity of the organization of cultural life, given these areas stay under the influence of different countries and do not wish the past to support the development of Ukrainian culture. Emphasis is on creating a land of numerous cultural organizations, including the centers of activity determined by its mastery of musical notation and theory of music in the network of general education at various levels, both in religious schools, gymnasiums, and private boarding university. We also consider the creation of original didactic literature for success. Focusing attention on the activities of companies, educational institutions, artists and instrumentalists emergence of educational materials. The author highlights the role of religious fraternities who took care activities of schools and their role in the dissemination of vocal and instrumental performance, delivers a broad geographic distribution of these fraternities and considers the specifics of their impact on the issues outlined above. Discovered mentioned the century revitalization print literature of music pedagogy, which had a decisive influence on the methods of teaching. Referred effect leading West European musicians-teachers in this process. Emphasized the role and importance in enhancing the cultural and artistic life of the region the creation of local professional musical institutions on the basis of which formed the foundations of Ukrainian instrumental pedagogy – Greek Catholic seminary in Lviv dyako-Pedagogical Institute in Przemysl, musical discipline programs parochial schools, teachers’ seminaries and schools, instrumental classes at various music and singing organizations as the foci of spiritual revival of the region: »Boyan» (from 1981), »Education», »Russian Conversation» (from 1862), academic fraternity (from 1871), »Lute», »Harmony» with instrumental classes and school playing the wind instruments and others. Consider other artistic structures common in the region at the time. The attention also to the domestic music forms, the most common in western Ukraine at the time. Shows the participation of foreign musicians, mostly graduates of famous composers – Liszt, F. Shuberta and others. in the methodology of the educational process in special schools and forms; presents the contribution of each of them in some form of musical performance and its organizational and methodical activities on Ukrainian territory. Key words: singer, instrumentalist, music, professionalisation, partnership, professional education, methodological and didactic literature, intercultural contacts, music and vocal and choral performance in the practice of cultural associations, Ukrainian art schools, integration, Western Ukraine.

Abstract Velichko O.B. Retrospektyvnыy discourse of Western instrumental in yspolnytelstva Ukraine in late XIX - early XX century Rassmatryvaetsya Specificity and development trends in instrumental yspolnytelstva Of Western Ukraine in late XIX - early XX centuries. pozytsyy with retrospective discourse. WARNING Sosredotochyvaetsya activities in societies, uchebnыh wound, yspolnyteley- ynstrumentalystov and appearance uchebno-metodycheskoy literature. Keywords: Artists-ynstrumentalyst, muzytsyrovanye, professyonalyzatsyya, Society, Professional Education, dydaktychnaya methodical literature, Western Ukraine. Received 09.23.2014 UDC 78.1 M. Lastovetskyy

PARTY IN PIPES ORCHESTRAL WORKS TCHAIKOVSKY

Brightness and orchestral music attractiveness of Russian composer Tchaikovsky (1840-1893 gg.) Is largely associated with extremely diverse and spectacular use of brass instruments and in particular the pipe as its most famous and »high» representative. The relevance of this exploration is the fact that for the current generation symphonic composers, representatives of different schools and nationalities, orchestral style Tchaikovsky, his art instrumentation is continuing pattern real School of skill, and including the application of the party in the light of the tube. Tchaikovsky belongs to the cohort of artists who have uncovered deep in the works of technical, dynamic and timbre possibilities pipe ensemble demonstrated its capabilities. However, Despite the large number of studies on the works of Tchaikovsky, coverage its stylistic features, it appears that the pipes in the interpretation of Tchaikovsky orchestral style was paid less attention on the part of scientists. And this despite the fact that Tchaikovsky how brilliant master orchestral writing, using the tools of copper and other groups that are classical composition Symphony Orchestra has XX-XXI centuries. Among the large variety of musicological works on the pipeline as solo instrument in the works of composers past and present, stand those published in editions of the Moscow Conservatory. Tchaikovsky (led by Yuri Usov) and study of modern Ukrainian academics that were published recently (W. Posvalyuka [4] I. Hyshky [3], V. Tsayttsa, B. Mochurad, Var’yanka A. et al.). However, in the above scientists special consideration of the role of the party in the pipe works of Tchaikovsky did not get deeper scientific coverage. Given this, the aim of this exploration was to determine the specific application of the party pipes in the orchestral scores of Tchaikovsky. Tchaikovsky symphonic music once heard in the orchestral sound created [1; 25]. Great influence on the formation of the composer’s orchestral style, in particular, on the use of pipes, German composer had creative Betovena LA and founder of Russian classical music of Glinka. At the same time, Tchaikovsky admired contemporary European Symphony Orchestra, which already introduced chromatic pipe, French horn and tuba. If you did not recognize Glinka valve and pipes not made them in their scores, preferring natural instruments, Tchaikovsky of the first steps began to use chromatic brass instruments and, especially pipe. Preferably in orchestral scores Tchaikovsky used the classic structure of group brass instruments symphony orchestra, which included four French horn, two trumpets, three trombones and tuba. This composition of copper tools it enough to maximize Disclosure of vyrazovyh opportunities both individual and of the whole group. Their ensemble combination with Orchestra instruments other groups are always subordinate to the fullest disclosure of artistic concept that put the composer in each of their scores. Tchaikovsky made huge contribution to science instrumentation and its study in music education institutions of tsarist Russia, shifting labor Belgian musicologist, composer and teacher Francois Auguste Hevarta (Gevaert) (1828-1908 gg.) »Treatise on instrumentation» (Traite general d ‘instrumentation) (in Russian translation Tchaikovsky - »Guide instrumentation») [2]. Translation of this manual for Tchaikovsky as budding composer, was of great importance. In particular, the application, starting with the first symphonic works exclusively chromatic pipes and other chromatic brass instruments. In orchestral scores Tchaikovsky pipe a wide and diverse. Formation pipes in symphonies by Tchaikovsky and their use in parts of the sonata-symphony cycle: Symphony number 1, »Winter Dreams» g - moll, 1866 and second ed. - 1866, third ed. - 1874, type 1. Third Ed. - 1875 Part One - two trumpets in D, the second part - no tubes, part three - two in the pipe C, part four - two trumpets in D. Symphony № 2 c - moll, 1872 and red. - 1872, Second Ed. - 1880, type 1. scores (second ed.) - 1881 Part One - fourth - two trumpets in C. Symphony № 3 D - dur, 1875 1 views. (score) - 1877 Part One - two trumpets in F, Part Two - pipe absent, the third part - no tubes, part four - pipe available, of the fifth - two trumpets in .F Symphony № 4 f - moll, 1877 1 views. - 1880 Part One - fourth - two trumpets in F. Symphony number 5 f - moll, 1888 1 views. - 1888 Part One - fourth - two trumpets in A. (B autograph scores, the first part of the symphony with musical notes pipes in service in B). Symphony number 6 (»Pathetique») h - moll, 1893 1 views. - 1894 Part One - two trumpets in B Part Two - two trumpets in A, part three - two trumpets in A, part four - two trumpets in A. Symphony »Manfred» in 4 pictures h - moll, 1885 1 views. - 1886 Part One - two pipes in D, second part - no tubes, part three - two trumpets in D, part four - two trumpets in D. Types of tubes in orchestral suites, symphonic works and one-concerts Tchaikovsky. Suite number 1 d - moll - D - dur, 1879 1 views. - 1879 Part One (Introduction and Fugue) - two trumpets in D, Part Two (Divertimento) - no tubes, part three (Intermezzo) - two trumpets in D, Part Four (Miniature march) - Tubes (and horn) are missing, part five (Scherzo) - two trumpets in F, part sixth (Gavotte) - two trumpets in D. Suite number 2 C - dur, 1883 1 views. - 1884 Part One (Game sounds) - two trumpets in C, part second (Waltz) - no tubes, part three (humorous scherzo) - two trumpets in E, part fourth (Child Dreams) - no tubes, part five (Wild Dance) - two trumpets in C. Suite number 3 G - dur, 1884 1 views. - 1885 Part One (Elegy) - two trumpets in F, of second (Melancholic Waltz) - no tubes, part of the third (Scherzo) - two trumpets in D, part fourth (Theme and Variations) - two trumpets in D. »Motsartyana» (Suite number 4) with four works by Mozart G - dur, 1887 1 views. - 1887 Part One (Gigue) - two trumpets in B, Part Two (Minuet) - no tubes, part three (Please) -no pipes, Part Four (Theme and Variations) - two trumpets in C. Overture »Thunderstorm» Ostrovsky drama to e - moll, 1864 1st ed. - 1896 Two pipes in E. Overture F - dur [and version], 1865 (The first performance took place on December 9, 1865 student orchestra of the St. Petersburg Conservatory, where he first held public appearance Tchaikovsky as a conductor). 1st ed. - 1952 One pipe in E. Overture F - dur [second edition], 1866 1 views. - 1952 Two pipes in F. Overture c - moll, 1866 1 views. - 1952 Two pipes in C. »Storm». Fantasy for orchestra on the eponymous drama by William Shakespeare, f - moll, 1873. 1 ed. - 1877 Two pipes in F. »Francesca da Rimini». Fantasia for Orchestra V on the story song »Hell» with »Divine Comedy »by Dante, e - moll, 1876. 1 ed. - 1878 Two pipes in E. »Italian Capriccio» (the theme of folk songs) A - dur, 1880. 1 ed. - 1880 Two pipes in E. »Romeo & Juliet». Overture-Fantasy tragedy of the same name by William Shakespeare, h – moll, 1869. And the red. - 1869, Second Ed. - 1870, third ed. - 1880 1 kind. And red. - 1850, type 1. Second Ed. - 1871, 1 kind. Third Ed. - 1881. In both versions (I and II) - two tubes in E. »1812 hours.» Solemn Overture. Es - dur, 1880. 1 ed. - 1882 Two pipes in ES. »Hamlet.» Overture-Fantasy tragedy of the same name by William Shakespeare, f - moll, 1888. 1 ed. - 1890 Two pipes in V. Concerto for Violin and Orchestra D - dur, 1878. 1 ed. - 1888 Two pipes in D. »Variations on a Rococo Theme» for cello and orchestra A - dur, 1877. 1 ed. in the wording Fittsenhahena - 1889, type 1. in author’s edition - 1956 pipes available. Concerto number 1 for piano and orchestra b - moll, 1875. And the red. - 1875, Second Ed. - 1879, third ed. - 1888 1 kind. And red. (piano and orchestral voices) - 1875, type 1. Second Ed. (score) - 1879, type 1. III Ed. - 1890. (After the publication in 1890 in the concert practice and training of pianists established a tradition to perform a concert for the third edition). Two pipes in F. Types of tubes in ballet, opera and drama performances to music by Tchaikovsky. »Swan Lake ». Ballet in four acts. 1875 - 1876 rr. Introduction - two trumpets in F. First performance: № 1 - two tubes in D, № 2 - two trumpets in E, number 3 - two trumpets in D, №№ 4, 5, 6, 8, 9 - two trumpets in F, № 7 - without tubes. The second performance: №№ 10, 11, 12, 13, 14 - two trumpets in F. Third action: №№ 15 - 24 - two trumpets in F. The fourth action: №№ 25 - 29 - two trumpets in F. Plug rooms: Pas de deux (instrumentation V.Shebalina) - two trumpets in B Russian dance (instrumentation Tchaikovsky) - two trumpets in F. »Sleeping Beauty». Ballet in three acts with a prologue, 1888-1889 biennium. Two pipes (in B, in A). »The Nutcracker». Ballet - extravaganza in two acts, three scenes, in 1892 two pipes (in B, in A). »Voivod». Opera in three acts, four scenes on the play by Ostrovsky, 1867-1868 biennium. Two pipes in F. The publication of the score in 1953, prepared by Mr. Lamm, written in the modern pipes costumes in F. (As you know, the score of the opera in its time Tchaikovsky was destroyed and it was restored by orchestral voices, preserved). »Oprichnik.» Opera in four acts and five scenes of tragedy I. Lazhechnikov, 1870-1872 biennium. Two pipes (in D, in F, in C). «Shoes.» Comic-fantastic opera in four acts, eight paintings. Libretto by Gogol novel »The Night Before Christmas» 1885 Two pipe (in F, in E). »Eugene Onegin.» Lyric scenes in three acts, seven scenes in the novel poems of Pushkin, 1878 Two pipes in F. »Enchantress.» Opera in four acts, 1885-1887 biennium. Two pipes in V. »The Queen of Spades.» Opera in three acts and seven scenes on the novel by Alexander Pushkin, 1890 Two pipe (in B, in A). »Iolanta». Lyric opera in one act, 1891 Two pipes (in B, in A). Music to the drama chronicles Ostrovsky »Dmitry the Pretender» and »Basil Shuya »1867 One pipe in D. Music for the spring fairy tale Ostrovsky »Snow Maiden» 1873 Two pipe in F. Music to Shakespeare tragedy »Hamlet», 1891 W. Two tubes in Tchaikovsky never he made his orchestra into the third tube (not talking about a cornet-piston and the additional Military orchestra overture in the code »1812»), although the mid-nineteenth century. under the influence of Wagner is has become commonplace, particularly for scores of A. Bruckner (in all his symphonies involved three tubes in F). Not interested Tchaikovsky Symphony Orchestra hypertrophied composition (such as marches Knights of Wagner opera »Tannhauser» number of pipes brought to 12!). From this view you need pay tribute to Tchaikovsky orchestral instinct, which from the early scores, not mention the mature works, using only the tools of copper and other groups to today are part of the classical symphony orchestra. Modern trumpeter, performing works by Tchaikovsky (and other classical composers, which party written in different costumes), transponuyut orchestral parties to the system in B. In the early and middle period of the composer used the tools in a variety of outfits - in from C to B in F. mid 80s his sympathies are increasingly beginning to belong pipe in F. Illustrative of this instrumentation review is the ballet »Swan Lake», in the first issue of which was twice involved trumpet in D, once - in E, and all the overwhelming number of rooms (from number 5 to number 29 last, also introduction) given pipe in F (except number 7, where the pipe was not involved). In the last period works of Tchaikovsky increasingly used in pipes in service in A and B, often used them alternately in a single work in different parts, mainly in ballet and opera scores. During the composer’s very economical, depending on the plan, introduced into the tube scores. They are missing not only in parts of the early works (First, Third Symphony), but also in mature period (»Variations on a Rococo Theme», »Motsartyana»). If the early and mature period of creativity Tchaikovsky used by more modern pipe size, transponuyut up (excluding pipe in C, which sounds like notuyetsya), the last years of the composer gave advantage pipes, transponuyuchym down, that while gaining increasing popularity in artists (in A and in B). The use of piston cornet in the works of Tchaikovsky strictly »regulated» 1: they completely absent in symphonies (except programmatic symphony »Manfred», which has no sequence number) and used in specific locations ballets (except for »The Nutcracker»), only one opera, (»Enchantress»), but mostly - a software one-formulations to more specify certain characteristics of the genre (street song »Italian Capriccio» French theme in the overture »1812» and so on. Lack cornet and percussion caps, the last score of the ballet Tchaikovsky, apparently due to the fact that the writing of »The Nutcracker» in the pipe in service in and in A, are involved there already were so advanced technically and timbre respects, that no longer need to enter those tools that were designed right in service in B and in A. The art of orchestration, which later became the »calling card» by Tchaikovsky as a composer, he captured immediately. Proof of this is the orchestration of one of his early overtures»Thunderstorm». Analysis of the scores of the first orchestral works Tchaikovsky suggests that the composer only mastered the use of orchestral instruments ensemble and their properties, including pipes. The pipe often (solo or a2) involved in the deployment of work, but never used as it is not Signal, melodic or relatively independent functions. Party tubes in the early orchestral scores, especially in the overture and opera, rather simple. They have no virtuoso passages, great solo episodes. Often they contain harmonic sounds pidholosky small solo phrases, single notes. There pipe being by chromatic design, used primarily in the tradition of Glinka. Not by chance, much of his early works (the first and second symphony, overture-fantasy »Romeo and Juliet »and others.) Composer later revised and orchestrated anew. With increasing skill composer Tchaikovsky, respectively, appreciated the role pipe in his works. The mature period of the composer is characterized by qualitative changes in use of pipes, due to the further development of the art of playing the constructive advanced valve instrument. In symphonic works, operas and ballets of Tchaikovsky pipe appears where musical development reaches its climax: the culminations, tutti, with the support of orchestral narostan, the need for a juicy and rich and at the same time brilliant orchestral sound in special moments of drama. For example, in uvertyuri- fantasy »Romeo and Juliet» at the moment of highest tension dramatically over-saturated Orchestra sounds triumphant unison of two pipes. Tchaikovsky frequently used the sound of pipes for the time of deployment music and orchestral »scenario» that demanded just such a tone. Because the pipe in the implementation of sound his background scores achieved immense power of artistic influence. Dramaturgy the pipeline composer is to maximize its incarnation vyrazovyh functions in the context of deployment Music and figurative sense. Through this tool, especially in opera scores of the composer, always appears in places to which it »operates», and comes in such moments that caused the need to stage action. Thus, in the opera »Iolanta» by Tchaikovsky used the tube (as trombone and tuba) very sparingly and only in rooms associated with male images (King René Robert and Ebn-hacks). At the same time, Tchaikovsky was a great master in the use of certain tools genre role, using his brilliant, bright, bright timbre. Great festivity overall orchestral sound provide pipes in the introduction to the second act of the ballet »Sleeping Beauty». Bravura and lightning volatility demonstrates solo trumpet in »Spanish Dance» from the second act Ballet »Nutcracker». Underlined the solemn and gorgeous sounds Polonaise from the first scene of the third action opera »Eugene Onegin» triumphant fanfare through pipes surrounded by steep passages and violins flutes. Effectively used pipe in piano at the beginning of fantasy »Francesca da Rimini» or culminating conducting threads accession of fantasy- overture »Romeo and Juliet». Sinister and scary surdynamy pianissimo pipes from the scene of the tragic death of Herman in the 7th film opera »Queen of Spades» produces extraordinary eerie impression. The orchestra Tchaikovsky is no division between primary and secondary woodwinds. Because the pipe is often a variety of support functions, harmonic, contrapuntal, Signal duplicate, accent. Its presence in the score makes the overall sound more noble and sublime. Often pipe acts in ensembles with other instruments brass band. In the overture of the opera »Shoes» in music that depicts snowstorm breaks tune »spell hell» which entrusted pipes, trombones and tube. The same theme, »spell» in the first picture the first act powerfully sounds pipes, horns, trombones and tubas. Subject harpers in the overture to the opera entrusted with pipes woodwinds, supported all the orchestra. Tchaikovsky is one of the first composers much dramatized sounding pipes investing her solo episodes in her tone filled with great inner tension maintenance. Especially pipes role is responsible in his last three symphonies. Disturbing and sinister shade it acquires in carrying the theme »fate» of the Fourth Symphony. With grim and stern image leyttemy linked to their party in the Fifth Symphony, the sound leaves a lasting impression with modifications leyttemy in the pipes in the final of this work. Short and victorious replica woven into the pipes vyhoropodibnyy movement scherzo- march of the Sixth Symphony, and increasing vidtinyuyuchy tragic finale. Dramatyzuyuchy orchestral parties pipes, Tchaikovsky often created enormous increase orchestral sound. Along with two pipes, composer quite willingly took two cornet. A classic example of solo cornet a piston-considered »Neapolitan Dance» from the third act ballet »Swan Lake». Unforgettable solo episodes occur in a number of his symphonic scores (»Italian Capriccio» overture »1812», »Francesca da Rimini» symphony »Manfred»), in which maximum expression revealed the possibilities of this tool. Thus, in the Tchaikovsky symphonic works, operas, ballets and concerts used trumpet and cornet in different ways, depending on the artistic intent. In symphonies (excluding program Symphony »Manfred», which involved two additional cornet), Tchaikovsky introduced to the orchestra only a pair of chromatic pipes, not always using them in all parts of the array excellent tools in various works. It should be stressed that a significant role in the spread of prestige pipes played using this instrument in the orchestra, ballet and opera music Tchaikovsky. Nearby solo pipe in his symphonic scores included in the »golden fund» use of technical capacity and vyrazovyh tool. The use of pipes in the works of Tchaikovsky, who took an important place in the history of world music culture, has been the subject of study and model for generations of use composers of the nineteenth and twentieth centuries, including Ukrainian. It should be noted that in the works of Ukrainian composers Tchaikovsky symphonic tradition to use a rich range vyrazovoho pipe further developed [4], but that is the subject of the next research.

Notices 1 works by Tchaikovsky, which are used in addition to the pipes, cornet and percussion caps: Symphony »Manfred» - two piston in A; »Francesca da Rimini» - two piston in A; »Italian Capriccio» - two piston in A; »1812» - two piston in B; »Hamlet» - two piston in B; »Swan Lake» - two piston (in A, in B); »Sleeping Beauty» - two piston (in A, in B); »Enchantress» - two piston in B.

References 1. Ahafonnykov score Symfonycheskaya AN / AN Ahafonnykov. - L. Music, 1981. - 2 ed. - 196 pp. 2. Hevart F. guidance for ynstrumentovke; Per. s Nam. PI Tchaikovsky / FM // Hevart P. Tchaikovsky. Full. Coll. cit., lyteraturnыe Works and correspondence. - Moscow: Muzhyz, 1961. - V.3. - S. 11-360. 3. Hyshka I. Zvukotvorchyy component trumpet performance: tradition and bazynh: Author. Thesis ... candidate. Art. : 17.00.03 / JS Hyshka; LDMA them. Lysenko. - L., 2005. - 18 p. 4. Posvalyuk VT art of playing the trumpet in Ukraine / VT Posvalyuk. - K.: KNUKiM, 2006. - 400 p.

Summary We consider the use of the party specifics pipe in the works for symphony orchestra Russian composer Peter Tchaikovsky. Keywords: tools, pipe work, symphonic score, orchestral music.

Summary Lastovetski M. The Party of Trumpet in Petro Tchaikovsky’s Orchestral Works We consider the specifics of using wind instruments, particularly the party in the pipe works for symphony orchestra in the works of Russian composer of the late nineteenth century Peter Tchaikovsky. Emphasized the lack of study of the problems in the domestic scientific thought of art, examined some articles relating to the topic of scientific research. Reveals the specific works of great composers of musical forms, which was that the songs were written by the author directly for symphony orchestra, avoiding direct orchestration. The influence on the formation of musical writing of the classics of Russian composer (M. Glinka) and Western music (L. Beethoven). Emphasized that unlike his predecessors, composer Tchaikovsky in his own creativity has used the chromatic musical instruments, which greatly expanded the expressional possibilities of the symphony orchestra and classical composition of the team brass instruments. The role of Tchaikovsky respect his contribution to science instrumentation and further study in educational institutions of the Russian Empire, shifting labor Belgian musicologist, composer and teacher O. Hevarta. The analysis of almost all the artistic works of the composer, whose party is widely used pipe and accented attention on costumes pipes in the analyzed compositions of the musician. Subjected to analysis orchestral works, accompanying ballet composer, and in this context describes a variety of pipes that are used in these compositions. The attention that the party and the pipe tesyturnomu and the technical aspects of this composer, especially in the early period of his work, quite simple, they have no virtuoso passages, great solo episodes. Often they contain harmonic sounds pidholosky small solo phrases, single notes. There pipe being by chromatic design, used primarily in the tradition of Glinka. Not accidentally, many of his early works (the first and second symphony, overture-fantasy »Romeo and Juliet» and others.) Composer later revised and orchestrated anew. With increasing skill composer Tchaikovsky, respectively, appreciated the role pipe in his works. The mature period of the composer is characterized by qualitative changes in the use of the pipes, due to the further development of the art of playing the structurally improved valve instrument. In symphonic works, operas and ballets of Tchaikovsky pipe appears where musical development reaches its climax: the climax, with the support of orchestral narostan, the need for a juicy and rich and at the same time brilliant orchestral sound in special moments of drama. For example, in the fantasy-overture »Romeo and Juliet» at the moment of highest tension. Tchaikovsky is one of the first composers much dramatized sound pipe, putting her solo episodes in her tone filled with great inner tension maintenance. Especially is responsible role pipe in his last three symphonies. The article deals with many successful enough comments to the author’s many compositions, which only improve the perception of the proposed research material. Proved on analysis of considerable repertoire that the composer felt very well usefulness of a tool in the orchestral score. It echoed from the first tracks and completing mature legacy, use only copper musical instruments and other groups that today are part of the classical symphony orchestra. The attention that the composer, given the specificity of sounding pipes and brass instruments in general, very carefully introduced them to the symphony and other orchestral partytur.P. Tchaikovsky was one of the first composers much dramatized sound pipe, putting her solo episodes in her tone filled with great inner tension maintenance. Especially is responsible role pipe in his last three symphonies. Emphasized that symphonic works of Tchaikovsky become a classic for the next generation of composers and can be widely used in educational practice modern educational music institutions. In the works of Ukrainian composers Tchaikovsky symphonic tradition to use a rich array of tubes vyrazovoho also further developed The article deals with the specifics of transposition and parties modern musicians while performing Tchaikovsky classic songs. Key words: tools, pipe work, symphonic score, orchestral music, Tchaikovsky, operas, chamber music, ballet music composer, woodwinds, musical and pedagogical repertoire, classical music, contemporary performance practice Symphony.

Abstract Lastovetskyy N.A. Party in pipes orkestrovыh Works P. Tchaikovsky Rassmatryvaetsya party Specificity Using pipes in Works for symfonycheskoho orchestra of Russian composer Pyotr Tchaikovsky. Keywords: tools, pipe, Creativity, symfonycheskaya score, orkestrovaya Music. Received 10.19.2014

UDC 784.3 A.N. Bass

CHAMBER AND VOCAL WORKS YAROSLAVENKA J. AND W. BEZKOROVAYNA IN UKRAINIAN MUSICAL CULTURE

At the forefront of Western music 1920-1930 years were artists that were educated in educational institutions in Western Europe and sought to enrich the national traditions better achievements of the latest music trends. This primarily Lyudkevych S., V. Barvinsky, N. Nyzhankivskyi, Turkevych S., B. Kudryk, Z. Lys’ko A. Rudnytsky Kolessa M., R. Simovic. Along with them were active composers »second line» - J. Yaroslavenka, Beskorovainyi V., V. Baltarovych and amateur composers - M. Voloshin, A. Bobykevych. In the works of a new generation of composers emerged opera, symphonic, cantata-oratorio compositions, chamber-instrumental and choral compositions. And besides mastering new genres and forms theater and instrumental music, solospiv, along with choral music remains traditional, mentally and historically dominant national musical art. Arts and V. Ya Yaroslavenka Bezkorovayna has written a separate page in development Ukrainian music, though, particularly S. Lyudkevych treated her fairly krytychno1. But we should not forget that these composers lived and worked in the period of professionalism in music Galicia, their work was in unison with time. Pay attention to the fact that 1937 W. Beskorovainyi admitted to the supra (whose members were professional musicians only) 2. In his works were trends that occurred in the Western European and Ukrainian music: a composition for voice and orchestra, popular at the time melodeclamation. Artistic heritage and V. Ya Yaroslavenka Bezkorovayna - volume and multidisciplinary, but not received a more complete study art historians as chamber and vocal artists improvements that waiting for a thorough study. Review of the literature. Materials about the life and work of J. and B. Bezkorovayna Yaroslavenka represent encyclopedias and reference books, including A. Mucha [14] M. Dytynyak [6] G. Biernacki [3]; Information about the work in the genres of choral composers, kamerno- instrumental, orchestral music contains 4 volume »History of Ukrainian music» [5]; Sketches the life and career of the composer is in the book of J. Myhalchyshyna [13]. Creative figures Composers in the context of Galician musical culture studies presented in Barvinskyi [1] A. Rudnytsky [17]; some aspects of their work covered in the articles S.Lyudkevych [10, 11]; B. Bezkorovayna creativity in a mirror archive material examined a draft N. [16]; biographical certificate and a list of his works served P. medveduk [12]. Genre and stylistic features Ya songs Yaroslavenka R. Sovyak studied [18]; methodical recommendations to implement some vocalists takes the songs of composer M. Lohoyda [8], creator of Ukrainian marches - J. wrote Yaroslavenka V. Laba [7]; composer of publishing activity referred to in Article Nykorak N. [15]; creative connections composer studied with Robert W. Luchuk screen [9]. The article is to highlight the chamber and vocal works of J. and Yaroslavenka B. Bezkorovayna in the context of the latest trends that occurred in the Western European and Ukrainian chamber and vocal music in the first half of the twentieth century. Jaroslav Yaroslavenka and Basil Beskorovainyi often acted in concert with soloists and choirs as pianists and accompanists. In particular, Vladimir Beskorovainyi accompanied singers - S. Steblynskyy (his wife, who was also a violinist), soloists Ternopil »Boyana» M. Hirnyakoviy, M. Korentsivniy, tenor A. Vavryk, V. Klodzinskomu, touring singer Alexander Ostapchuk. Later in exile composer was active just as Ukrainian pianist in various concerts devoted to prominent figures of her, performed their own piano works and worked to support melodeklamatsiy. In a fairly advanced age (creative activity lasted up to 83 years), he has performed in concerts. As accompanist, J. Yaroslavenka with singer M. Siyak performed in various cities – Lviv, Przemysl Sokal. In particular, in 1907 they performed the composer’s own works, songs Lysenko, O. Nyzhankivskyi, J. Gall, S. Nevyadomskoho G. Wolf, Grieg and opera arias. It is obvious why J. and V. Beskorovainyi Yaroslavenka with special reverence treated songs of the genre. The largest part of the heritage of the genre they created during the 1910-1930’s. At one time their works were very popular. Often performed in various concerts marches, excerpts from operas, choirs, solospivy3. The greatest part of his heritage romansovoy J. Yaroslavenka created on words Shevchenko Franko, O. Oles during the 1910-1930’s., As well as texts Ukrainian Symbolist poets with whom composer united friendship - V. Pachowsky, S. Charnetsky, S. Cherkasenko, crows and M. al. Composer addressed exclusively to the original Ukrainian texts exception of three songs on texts by R. Burns and N. Lenau in Ukrainian translation Petrushevych I., A. Lutsky, B. Pachowsky. Obvious landscape sketches are the words of songs of the artist J. Mlaky, V. and Maslyak O. Makovey. The composer also turned to poetry and V. Kulik Lepkoho. In the early period of creativity (1910-ies.) V. Bezkorovayna created songs of the words Myskiv F. and M. Filyanskoho. In the composer’s creativity manifested the love of three poets: Shevchenko Lepkoho and A. Oles, since most of their songs of written texts. In melodeclamation, the words of the poet, composer written three songs of. Based on folk songs and ballad-type elements Dumnova epic composer created ballad Fedkovych the words »Sokilska princess» (Sokilske) and Duma «Crying slave.» Popular, sfolkloryzovanyy R. v Kupchynskyi received interpretation in Solo Singing »boring, Trembita. » By the words M.Shashkevych wrote». Dnistrovanku» in the style of Ukrainian folk songs and C. Rudanskogo text found expression in his satirical song »I must have a friend over the place.» By M. Voronoi poems created a series of songs of J. Yaroslavenka. This - »Serenade» (1922) »Before the Gate» (1922, with a dedication »Dear Lyrics»), »Like a crowd gathered» (1920), »On the rock» (1923, dedication of the composer’s wife). They are not integrated into the cycle and not be chronological grouping, but the relationship of figurative and emotional areas (embodiment human senses that she is experiencing with nature, which is embodied and becomes an active protagonist person), allows you to combine them in a thematic group. Spring bright, cheerful first song »On the rocks» (D-dur) - this hymn happy love. Wonderful moment comes close to beautiful nature (such a plot model common in romantic, particularly in Grieg »Dream» Rachmaninov »April»). Piano introduction (6 cycles) set out chords in a wide arrangement of bass grace notes (con grandezza) creates dynamics ff feeling of infinite space (the hero stands on a cliff top). Further in Party used piano elements of sound »painting». It is guessed quiet lapping of waves against the rocks. In the code of romance (pomposo) Composer twice repeats the line «happy hymn of love», confirming the basic idea of the work. The second song »Like a gathered crowd» (g-moll) - solospiv-elegy. Topdown intonation, dominate the vocals, rhythmic pattern in ostynatnyy piano, rocking shistnadtsyatok in the low register create a mood that corresponds to verses »in the wake Hearts sweet melancholy memories of spring». The third song »front gate» clearly shows signs plaintive march (c-moll): used typical configuration of a dotted rhythm. In the essay stating that the person had a difficult life and passed »through thickets and thorns» knocking at the doors of paradise. Use in middle section of a work (andante religioso) sonorous, solemn, majestic chords creates the atmosphere of religious elation. Strong-willed marching rhythm tune piano sounds contrast to the final episode (largo pietoso). Marching rhythms used in the «Serenade» (1922), but the nature of the work and light carefree. According to the genre, the texture of piano party used an imitation guitar accompaniment. The original triptych S.Cherkasenka were the words of songs J. Yaroslavenka »Roztsvivsya Boz» (1922, dedicated to» The Way Lyrics on good memory»); »My Morning» (1923); »Wave» (1924). This - light music watercolors, sketches images of nature. They are talking about the first spring flowers, awakened the morning, gentle sun, green noise. They showed features of pantheism: People & nature interconnected, create a single unit, trust each other the most secret thoughts and desires. In these vocal miniatures used simple harmonic means Chords basic functions kupletno- theme and variations, small composite construction. Piano Party performs mainly accompanying role, creating appropriate emotional atmosphere. Most musical incarnations of the literary heritage of O. Makovey received his lyric sketch »Dream.» It turned Lysenko, B. Kudryk, F. Kolessa (»recruits died»). Interpreted the text and J. Yaroslavenka. Romance »Dream» (1906) - a striking example of vocal Nocturne. It deployed a large-scale composition (97 cycles, allowing you to draw parallels with the works Barvinskyi, although typically, the amount of songs the composer did not exceed 40-50 cycles). As in Barvinskyi, in the works of J. Yaroslavenka is the interpenetration vocal and instrumental genres: it is in the expansion tool weight component interaction parties and piano song and narrative kantyleny, relying on the genre of a lullaby. The composition has repryznu complex two-part form where function takes deployed exhibiting tematyzmu Piano introductory section which describes the author as Preludio (43 cycles, c-moll, 4/4). On the background burdonna fifths ostynatna sounds melodic figure that imitating lyre is quite tunes. New material fed into the vocals on the principle of multi-contrast (C-dur, 3/4), but its tonal basis is characterized pipe turns that canonically imitated in fabric texture changing accompaniment. Interlude (17 t.) Leads to a modified reprise, and Repeat complemented by outlining a leading theme in the party singer with accompaniment on the background characteristics tertsevyh fluctuations. Reprise short second part, served in a much slower pace (on Moderato assai change comes Lento), which gives it meaning epilogue. Solo Singing J. Yaroslavenka on words Pachowsky - landscape sketches: »Oh, nightingale» (1905), »Oh soloviyi chirp» (1906), »Hey, procured me cuckoo» (1907) – written composer in the early period of creativity. The names of songs involve the use of rich zvukozobrazhalnyh arsenal of methods and means, but rather sparingly composer uses techniques onomatopoeia (grace notes, trills, chords martellato)5. The text Lepkoho »In hlopsku chickpeas» composer in 1907 solospiv created in the spirit of dreary folk songs (f-moll) using phrases tune intonation characteristic cry (»hey!») at the end of each stanza. In the piano accompaniment in the background in the party organ point left hand ostynatnyh and chords - the party of the right, vocal party is a story about the plight hlopchyka- farmer. In the above songs of J. Yaroslavenka pronounced reliance on folklore, which was not literally quoting folk and ethnographic sources bukvalnosti and in application intonem recognizable characteristic of folklore, which have become part of the individual author style. It is possible to seamlessly translate poetry, which vividly peculiar national characteristics. By the words Lepkoho established four Bezkorovayna Solo Singing and B. »pink flowers», »On the slope mountains», «Where are you, leaves »and» Snyshsya me. »6 In »Snyshsya me» composer of music and poetic means transmits memories and sadness hero lost love, when the beloved image appears only in a dream. Soft, smooth elegiac passages from elements in declamatory vocals accompanied by piano party (harmonically-chord accompaniment) that sometimes duplicates the melody. A self-contained introduction and piano postlude create thematic arch and musical maturity composition. Solo Singing the words of V. Bezkorovayna Lepkoho - bright lyrical sketches personality themes that marked a wide range of musical and poetic images, they felt shubertivskyy impact and intonation field of urban romance. The lyrical songs of emotion not strictly limited to poetry, she enriched dramatized and psychological stress symbolist trends. In the songs of »Magic Night» in the words of O. Oles intimate intimate lyrics beckons sincerity of feelings, agitated tone of presentation. Modal harmonic accompaniment volatility increases wide ring breathing (ariozno-romansovoy composition). Piano prelude and final part, built on sound descending scale parallel Sexton, create a mood elevation and celebration. Solo Singing Bezkorovayna to B. O. Oles word »storm has passed», »swallow tiny» and the words of M. Filyanskoho»And zatsviv garden» - This romanticized lyrical landscapes where nature paintings inspired by the human senses, beauty and the true nobility of soul. However, J. Yaroslavenka in Solo Singing »In the abyss of despair» (1919) is dominated by dramatic Image of poetries A. Oles, which elehiynist depth and philosophical monologue combined with Secession emotional explosiveness. In poetry refers to «hope-traitor,» which elevates man to heaven, and cast into the abyss. The work is written in a simple three-part dynamizovaniy form. Melodic vocal in extreme sections have romansovoy arioznyy-wide nature of the phrase sekventno-deployment and variations typical pulsating chord elegy background alterovanyh chords. Middle section - expressive dramatic climax dominated pathetic declamatory (descending octava moves with dotted rhythms of different formulas, accented chants, eloquent pause, caesura). Underlined the changing nature of the change of tone - is modulated with e-moll in tragedy c-moll deviation through VII6 5-DDVI4 3. excitement provides triolnyy movement piano party, abrupt changes in dynamics (even within the cycle from ff to p). In the culmination of the work dynamics reaches the highest point, uses multiple sff, fff. S music means composer clearly conveys the emotional state of the character that defies fate. Music mature tissue songs of the composer’s complex, rich alterovanoyu harmony, chromatic; It used a wide arsenal of piano technique (right hand does not comply duplication feature vocal) and instrumental episodes are independent, create Solo Singing emotional background. The mood of poetic text composer not generalize and details, deep into the essence of poetry, trying to realize its hidden nuances content. In the colorful neo-romantic songs of (with the notable influence of Biedermeier aesthetics) J. and B. Bezkorovayna Yaroslavenka the words Symbolist poets represented mainly multifaceted, intense feelings of personal and pastoral poetry with a variety of musical images. It is characterized by a variety of embodiments of artistic ideas and aspirations, but some traditional musical vyrazovyh means using simple vocal forms (couplet, simple two part, three simple partial, cross-cutting), small constructions, widely songful plastic, romansovoy formulas melodic-intonation means. However, in the words of songs of composers Shevchenko pronounced Other features in tune with the latest trends that occurred in Western Europe in musical arts first half. Twentieth century .: in the chamber and vocal music is reflected in the scope enriching content, expansion of poetic texts, mastering new techniques of writing, the quest for new correlations of instrumental and vocal parties and considerable attention to various piano texture. For the most part composers typical use is not too complicated harmonic means »endowed with a certain sharpness and saturation sound daring tone Mapping »[5; 568]. Group V. Shevchenko Bezkorovayna Solo Singing - its bright page kamerno- vocal heritage. »My thoughts» for tenor, piano and cello (there is also an option accompanied Symphony Orchestra) during his lifetime is not considered the most significant work of his vocal tvorchosti7. In 1930 the texts of this poet also wrote melodeclamation («the days have gone by» «Poplar»), lyrical and household picture «Posazhu circle of huts,» Solo Singing «Kalina», »Dream» («Mountain my»),» My dear God» - Psalm Podrazhaniye XI (solospiv and tune it to Ya.Yaroslavenka Shevchenko words »All my upovaniye» (1929) - detailed dramatic monologues. Solo Singing characterized by large composite construction. Most deployed a »My thoughts» - 200 tons. »Kalina» - 120 tons. »My dear God» - 96 t.,» Dream» - 92 vol., »All my upovaniye» - 80 tons. These works of great importance is the instrumentation of various textured material that makes piano summary rich and saturated, are deployed prelude, interlude, postlude. In the Solo Singing predominant declamatory melody-arioznyy type of construction with high expressive speech, language often used pathos, recited elements. The expressive dynamics, which is sensitive to changes in the poetic text, increase the proportion lado- harmonic colors, alterovana akordyka and tempo-ahohichni deviation aimed at consistent and detailed disclosure of the poetic text. So, chamber vocal works Yaroslavenka J., V. Bezkorovayna created in an important period development of national culture is great and its artistic-value layer. They implemented national and spiritual values, aesthetic ideals, traits reflected Galician mentality that is characteristic of the culture of the region

Notices 1 He believed that much of the works to the words of Shevchenko (namely, choirs and Solo Singing) »Homegrown composers (in Galicia - Yaroslavenka, Bezkorovayna) ... to better, more honorable musical literature not include »[10; 253], although J. Yaroslavenka »among amateurish living conditions between a large series of written works no one is good and worthy of our musical consumption ... »[11; 453]. 2 Report of the meeting of 10 supra day 11. XI. 1937. Section: d) admitted to the B. Bezkorovayna – not given to him but none sections in the questionnaire for lack of accurate data on skills [19; 114]. 3 In particular, in 1919 in Przemysl songs Yaroslavenka »In the abyss of despair», »How should I worry» first performed R. Prokopovich- Orlenko and duet »We both heart with thee» sung with C. Stadnikov. 4 In his chamber and vocal works of Western composers turned to poetry C. Cherkasenko, whose name, as well as Vorona, for decades disappeared from Ukrainian history, although in the first decades of the twentieth century. He was very famous in literary and artistic circles. 5 Subsequently this subject with the appropriate solution textured appeal in his chamber and vocal creativity Kos-Anatolskyi. 6 N. Nyzhankivskyi created solospiv »Snyshsya me» the text Lepkoho in 1905, V. Beskorovainyi – in 1920. 7 Solospiv »My thoughts» V. Beskorovainyi wrote in 1935 (first performed it in Moscow Golinskii Ternopil).

References 1. Barvinsky B. History of Ukrainian musical culture of Western Ukraine / B // Barvinsky Literature and Art, 1941. - № 2. - P. 47-48. 2. Beskorovainyi Vasily (1880-1966): Bibliographic index / Red.-stop. AV Bashun. - Donetsk: East. issued. house, 2004. - 40 p. 3. Bernatska Vasily G. Beskorovainyi / H.Bernatska // Artists of Lviv. - L., 1994. - P. 22-23. 4. Bilynska ML 100 anniversary Ya.Yaroslavenka / M. Bilynska // Music. - 1980. - № 3. - P . 31- 32. 5. Roll YP Musical Culture of Western Ukraine / YP Bulka // History of Ukrainian music: 6 vols. - K., 1992. - Vol 4 (1917-1941). - P. 545-589. 6. M. Dytynyak Ukrainian composers: Bibliographic owner / M. Dytynyak. - Edmonton, 1996. - 160 p. 7. V. Laba Creator marches Ukrainian Yaroslav Yaroslavenka: life and career / V. Laba. - L., 2000.- 48 p. 8. Lohoyda M. Jaroslav Yaroslavenka (Vintskovskiy) / Lohoyda M. // Vocal chamber music Ukrainian composers V. obscene, A. Nyzhankivskyi, Yaroslavenka J., M. Skorik, A. Kozarenko). - AL: Ukrainian technologies, 2005. - P. 18-21. 9. V. Luchuk creative relationships with Robert J. Yaroslavenka screen (The Belarusian-Ukrainian art relations) // body of knowledge: content Coll. Science. works. - L., 1972. - P. 72-77. 10. Lyudkevych SP Investigation, articles, reviews, speeches: in 2 t. / Red.-stop. Q. Shtunder. - LA: Wonderworld, 1999. - T. 1. - 496 p. 11. Lyudkevych SP Investigation, articles, reviews, speeches: in 2 t. / Red.-stop. Q. Shtunder. - LA: Wonderworld, 2000. - T. 2. - 816 p. 12. medveduk AP Figures of Ukrainian music culture (Materials for bio-bibliographical vocabulary) / Peter medveduk // Notes NTSh. - T. SSHHVI: Proceedings of the musicological committee. - L., 1993. - S. 379-381. 13. J. Myhalchyshyn With music through life / J. Myhalchyshyn. - L., 1992. - 230 p. 14. Fly AI. Composers of Ukraine and the Ukrainian diaspora owner / AI fly. - K.: Music. Ukraine, 2004. - 352 p. 15. N. Nykorak Publishing Yaroslav Yaroslavenka notation and publishing »torban» / N. Nykorak // Zap. Shevchenko Scientific Society. Labour musicians. Commission. - Lviv, 2004. - T. SSHLVII. - P. 444-454. 16. a draft Vasily N. Creativity Bezkorovayna in the mirror of archival materials: Master Work / N.Osadtsya; LDMA them. Lysenko. - L., 2007. - 114 p. 17. A. Rudnytsky Ukrainian music: Historical and Critical review / Rudnytsky Antin. - Munich: Dniprova wave, 1963. - 406 p. 18. Sovyak RP problem Formation and Development zapadnoukraynskoho romance nineteenth -nachala The twentieth century. : Author. Thesis. ... Candidate. art. : 17.00.02 / R Sovyak. - K., 1984. - 24 p. 19. Ukrainian Union of Professional Music in Lviv materials and documents / Red.-stop. V.Syvohip, R.Stelmaschuk. - L., spol; Prospect M. Kots, 1997. - 144 p.

summary Analyzed chamber and vocal heritage Yaroslavenka J. and V. Bezkorovayna in context the latest trends taking place in Western and Ukrainian music culture in the first Pol. The twentieth century. Keywords: chamber and vocal works, chamber and vocal genre solospiv, Biedermeier.

Summary Bassa O. Chamber and vocal music of Y. Yaroslavenko and V. Bezkorovayny in Ukrainian musical culture The state of Western music 1920-1930-ies in the context of national creativity of the young generation of composers who have received special education in schools Western Europe and sought to enrich the national traditions of the best achievements of modern musical trends. Recalling in this context the work of famous Ukrainian composers such as S. Lyudkevych, N. Nyzhankivskyy, B. Kudryk, With Lys’ko, M. Kolessa, R. Simovych etc. The author of the article paid special attention to chamber and vocal Western heritage Yaroslavenka composers J. and V. Bezkorovayna in the context of the latest trends that occurred in Western and Ukrainian music culture in the first half of the twentieth century. Showing the creativity and attitude of the young generation of famous Galician classics. These composers were part of the first professional musical organization Galicia organization that affects their role in musical practice land and certifies their level of creativity. By trying to identify the role of the aforementioned personalities in the culture of Western Ukraine, detailed analyzes existing historiographical base refers to little-known publications of local authors, affects a significant number of memoirs and other information materials epistolary genre that help to better understand the role of these figures in the artistic life. Many articles devoted to material characterization concerts aforementioned musicians in concert along with soloists and choirs as pianists and accompanists; disclosed its cooperation with well-known instrumentalists and singers in concert programs prepared on the occasion of anniversaries giants of Ukrainian Culture (Lviv, Przemysl, Sokal). The attention is focused on their own creativity above composers and attitudes of those artists who denounced these works to the public. It is noted that most of his works Ya.Yaroslavenko wrote the texts Shevchenko, Ivan Franko, O. Oles and Symbolist poets V. Pachovskoho, S. Charnetskoho, S. Cherkasenka, M. Voronoho and others. Instead own creativity V. Bezkorovaynoho characterized by an appeal to the poetic heritage M. Filyanskoho, O. Oles, F. Myska. it was a characteristic feature of the support for the elements Dumnova epic, ballad-type songs. In this context, analyzed a number of works written on texts S. Rudanskoho, M. Shashkevych, Yuriy Fedkovych and others. The text contains a detailed description of many compositions of each of these composers Galicia; The specific semantics and stylistics tracks Ya. Yaroslavenka V. Bezkorovaynoho and their reliance on folk folklore sources. Many articles given material characterization instrumental works of these composers, its technical specifications, based on Galician artistic tradition. It is emphasized in particular that, for example, musical fabric of mature songs of composer Ya.Yaroslavenka complex, rich alterovanoyu harmony, chromatic; It used a wide arsenal of piano technique (right hand does not duplicate the function of vocal) and instrumental episodes are independent, creating an emotional background Traditional Solo Singing. The mood of poetic text composer not generalize and details, penetrates deeply into the essence of poetry, trying to realize its hidden nuances content. In the colorful neo-romantic Solo Singing (with the notable influence of Biedermeier aesthetics) Yaroslavenka J. and V. Bezkorovayna the words Symbolist poets represented mainly multifaceted, intense feelings of personal and pastoral poetry with a variety of musical images. It is characterized by a variety of embodiments of artistic ideas and aspirations, but some traditional music and vyrazovyh means using simple vocal forms (couplet, a simple two part, three simple partial, cross-cutting), small constructions, widely songful plastic, romansovoy formulas melodic-intonation means. Thus, the end of the article the author notes, chamber vocal works Yaroslavenka J. and V. Bezkorovayna created in an important period of development of the national culture is great and its artistic-value layer. They embodied the national- spiritual values, aesthetic ideals reflected traits Galician mentality that is characteristic of the culture of the region. Key words: chamber and vocal works, chamber and vocal genre solospiv, Biedermeier, creativity Symbolist poets, intercultural contacts, a young Ukrainian generation, development of Galician music, musical first professional association of Galicia, the contribution to the cultural heritage.

Abstract Bass O.M. Creativity vokalnoe chamber and C. J. Yaroslavenka in Bezkorovayna ukraynskoy muzikalnoy culture Analyzyruetsya chamber vokalnoe Heritage Yaroslavenka J. and B. Bezkorovayna in context noveyshyh trends in zapadnoevropeyskoy kotorыe proyshodyly and ukraynskoy muzыkalnoy a culture of the first half.Twentieth century. Keywords: Creativity vokalnoe chamber, chamber vokalnыy genre, romance, bydermaer. Received 01.12.2014 UDC 78.07 (477) »1920/1939» O.G. Lehkun

ACTIVITIES AMATEUR GROUPS KREMENECHCHYNY IN THE 20-30-IES

The recognition of the originality of national culture Ukraine European nations and the world public creates preconditions depth study of the history of musical culture, of deep roots, which formed the national Ukrainian spiritual aspect. Study cultural processes in Ukraine is impossible without a thorough study of regional development that promotes understanding of the all culture. Kremenechchyna - historical region located in the south-western part of Volyn extremely rich historical and cultural traditions. In 20-30 years of the twentieth century art has become the region special development, expanded the scope of musical activities of cultural and educational societies, enriched range of the various forms Touring and concert life has undergone reform music education in schools and laid the foundation of professional musical performance. Today completed a number of dissertation research (N. Obolonchyk, O. Panfilov, C. Kolyadenko, V. Omelchuk) in which the authors briefly touch on the activities of amateur Kremenechchyny teams in the interwar period. G. and I. Skakalska Chernyhivskyy studying Kremenets activity »Enlightenment», are based on the numerous documents State Archives Ternopil region, outlining cultural and educational activities of the company. However, thorough study of the topic is left unattended researchers. The purpose of the article is a study based on archival materials of amateur Kremenechchyny teams and play their live performances in the 20-30-ies. In 20-30 years of the twentieth century, the territory of Volyn (including Kremenechchyna) was part of the Second Commonwealth. Kremenets was one of the main centers of education and culture, has always been active theatrical life, were touring the famous Polish musicians, organized constant art exhibitions, competitions were held with the educational choirs. Significant role in the rise of national culture played Society activities »Enlightenment». In the culturaland educational field of amateur creativity has always had an important social role and found expression in the creation of theater, dance and amateur choral groups. Very popular among the residents of Kremenets enjoyed theatrical group »Enlightenment» under the leadership of former Ukrainian theater Kiev artist M. Sadowski Gregory Berezovsky, who during November 20 - December 20, 1927 held in Kremenets theater training courses for directors, which gave 30 lectures on the theory of drama [4; pp. 183], published several books on the theory of drama that have been sent to the branch of the company. During the 1928-1937 biennium. Amateur group set pieces, »Nazar Stodolya» Shevchenko »Forest Song» Lesya Ukrainian, «Oh do not go, Hryts» M. Staritskogo [11; 112]. Most popular was his statement »Zaporozhets beyond the Danube» Gulak-Artemovs’kyj, »Natalka Poltavka» Kotlyarevskyi in which the main role performed Oborevych G. and A. Patsyurkevych [12; 128]. Active participants theater group were Pankevych G., U. Zlochevskiy. K. Venediktov, Alexander Chernov, V. Denisevich, Kovalevsky, NM Sahaidachny A. Zhyvotko [6; pp. 26]. Theatrical tradition multiplied residents Pochayev where longer worked Artist Kiev Ukrainian Theatre Sadovsky Burdock. Through archival documents learn that August 12 1923 in Pochaev premiere performances of »The Bear» by Anton Chekhov (1 action) translated pochayanyna N. Kibalyuk and «The hay» L. Yanovska (1 action) [5, pp. 72]. From the 1931 team, whose composition consisted of more than 50 people worked under Oleksa Voloshin. Overall the years of existence (1922 to 1939) fans set more than 40 plays. The most popular» Chasing Two Hares» Starytsky, «Shelmenko- Batman »G. Flowers-Osnovyanenko» Vanity »Karpenko-Kary,» Motria »Lepkoho [9; 24-25]. In the bulk of the troupe made up Pochayev Krutyak L., M. Sviderska, I. Barchyshyn, E. Trofymlyuk, I. Romanyuk, F. Kolesnik, R. Stankevich, T. Trofymlyuk. As a leader, Alexander Voloshin trying engage to participate in crowd scenes, dance numbers as many young people. The big gap in the work he considered the lack of good singers, which prevented work on the music plays. Performances Pochaevskogo theater staff had an opportunity to see not only the residents Hometown: Vyshnevtsi occurred in the performance of the play »Resurrection» crested and »Club sufrazhystok» in Berezhtsyah - »Old hrihovodnyky.» A prolific amateur theatrical groups working in villages Yakymivtsi [1; pp. 19], Berezhtsi [6; pp. 178] Shpykolosy and others. From 1922 to 1924 the school functioned in Kremenets Ukrainian national dances choreographer V. Avramenko, who made a significant contribution to the development of Ukrainian choreographic art. In order to popularize own school Avramenko gave several recitals, which performed dances »Gopak», »Chumak», »shingle». Statements choreographer struck and captured citizens. School pupils was overwhelmingly young Kremenets schools. Exploring the certificate of graduation Kurasovoyi V. (1923) analyzed national school curriculum dance choreographer V. Avramenko. It included theory dance, dance movements, posture, dance and gymnastics and plastic practical implementation of dancing, »Mrs.», «Kozachok» «Freckles», «Kolomyyky», «Crane»» Arkan» and the solo «Gopak», «Chumak», «shingle». Bullfinch and Gus (names, unfortunately, is not known) achieved the best results in the performance of solo numbers [8; 2]. Repeatedly dancers performed the concert for the residents of Kremenets, Pochaev, neighboring villages. The funds Ternopil archives stored document on school performance national dances in Pochayiv (11 November 1923) and. Berezhtsi (10 November 1923). Viewers of enthusiastically embraced the dance performance «Kozachok», »Mrs.», «Kolomyyky», «Crane» «Shingle», «Chumak», «Easter dance», «hrechanyky» and an excerpt from the ballet «For Ukraine» [5; pp. 92]. This wide range of Ukrainian dance shows that their performance at the same time contributed promotion of national music among viewers, attracting musicians to participate in the accompanying ensembles and more. During the period of 31 school participant received a certificate of completion Ukrainian national dance choreographer V. Avramenko. With the educational company received a lot choreographers including Vladimir Savchuk of Derman, Alexander Voloshin from Pochayev, Samchuk. The popularity of graduates V. Avramenko we learn from the archive materials. For example, members of the »Enlightenment» Vyshgorodok town council appealed to the head of a request Alexander Voloshin send to organize dance group. As Alexander Voloshin has led in a circle. Pochaiv, the management of »Enlightenment» had to pick another candidate [3; pp. 23]. One of the main directions with the educational centers becomes choral art. Amateur teams that have worked in almost all branches were established on the basis of local church choirs or performed together with the drama when setting performances. Replenished his repertoire Ukrainian folk songs, works of M. Leontovich, Stetsenko, M. Lysenko, they are active participants in the literary and musical evenings, concerts on various memorable dates and anniversaries. For example, from the memories of our friend, the famous choral conductor A. Kushnirenko we learn about the activities in the village choir. Large Zahaytsi Kremenets district, which in his repertoire works had religious and secular. The choir was accompanied by church Service, gave a public concert, and the review of amateur choirs in Warsaw took first place among Ukrainian choirs. Each year the »Enlightenment» is widely celebrated birthdays and death of Taras Shevchenko, Lesia Ukrainian, Franko, Slovak Yu, the same participants were dramatic and choral groups. The interpenetration of music and drama, art, artistic expression manifested in celebration of these dates. Majestic occurred in early March Shevchenko holidays that were clear indication of the great love poet, commitment to the national idea. Archival documents give an opportunity to review the program Shevchenkovsky evening Pochayiv (1932). Summary of Taras Shevchenko, his life and work took an active member Pochaevskogo Society «Enlightenment» Alexander Voloshin. In the performance choir (headed. C. Beetle) sounded »Uchitesya, my brothers,» «Oh, oak, dark woods», «World of quiet», »Sun comes» »Zakvitchaly divchatonka,» »Testament.» Theatre staff made a staging of the play »laborers» [2; pp. 31]. Most popular Kremenechchyni had to Teachers Choir m. Under the direction of Kremenets I. Hipskoho, which, in addition to teachers, involved students and government officials, engineers and lawyers. This staff repeatedly performed concerts to local residents and neighboring Shumsk, Pochayiv, Vyshhorodku, Vyshnivtsi, Smyzi. Standing accompanist worked Piano teacher Kremenets Lyceum M. Levitsky. In 1937 the choir celebrated five years of its activity. The concert program featured Diverse works as Ukrainian, and foreign composers: S. Moniuszko »dear», »Rural Serenade» Beethoven »Hymn night, »Schubert» Lime »Lysenko» Vasylechku »S. Taneyev» Sunrise »Mashynskoho »Mazur» Vikovicha »Mruchkovi fables» and work for mixed choir and soloist »gray horse» I. Hipskoho the words of A. Asnyka [13; 190]. Repeatedly spoke to the residents of the district Kremenets choir Union of Cooperatives (headed. A. Gerasimenko) and the chorus of the Union of Cooperatives (headed. Kapitonets IV). Their repertoire consisted of Ukrainian folk songs, works of Mykola Lysenko, Stetsenko, A. Kosice, M. Leontovich. Creativity distinguished amateur choir with. Derman (headed. Arkadiyev IV). Members of the choir were active in social and cultural life of the village, accompanied church service. The repertoire of the choir combined church music, Ukrainian and Polish songs handling of Ukrainian composers Mykola Lysenko, M. Leontovich, Stetsenko. Led I. Arkadiyeva Derman choir members in 1929 put an opera by S. Hulak-Artemovs’kyj »Cossack beyond the Danube». I. Arkadiyev, having a beautiful baritone, John served Carp, women represented party Tatyana and Galina Demydyuk and Yu Maksimovic. Active concert team was rewarded in 1930 with a trip to the city. Poznan on Known as National Review Review village choirs [10; 28]. In order to popularize choral art in 1930 kuratoriya Volyn school County issued a decree on the organization and folk choirs that would provide in its activity artistically-cultural education of the public through the development of folk art, first song. As pointed head Kremenetskogo school inspectorate B. Roebuck, 1934 he worked in the county Kremenetskiy 12 choirs Circles rural youth, 4 and shooting 7 teachers’ choirs 23 choirs former pupils. That is, the choral art is a priority [14; 93]. The best works of amateur choirs helped regular conferences. For example, in November 1932 in Kremenets conference of heads of rural choirs Circles Youth, which invited 64 students from Lanivtsi, Pochayev, Shumsky, and many villages Vyshnivets Kremenets district. The annual county competitions that turned into a crowded concerts of choral art, helped popularize the best examples of Ukrainian and Polish music, to attract volynyan choral music. A notable event in the artistic Rye Volyn became Kremenetskiy competition choirs Rural Youth Circles (1938). His art showed groups of Dunaeva (headed. I. Bychkovskyy) Matviyivtsiv (headed. Lachuk MI), Grand Kunyntsya, Kushlyna, a room (headed. B. Haskevych) Old Pochayev, Leader (supervisor. A. Golubovsky). It should be noted that all identified choir conductor managers completed courses Music recessional cell Kremenetskogo Lyceum. The jury consisted of local choral conductors Oska M., F. Kulchinskiy, Vladimir Serafimovich and L. Berezovsky. Traditionally, the contest began Choir performance of all participants (headed. I. Hipskyy), who performed »Where the consent of the family.» The competition featured teams performed Required pieces S. Moniuszko »Godfather and godmother» and M. Leontovich »Zelenaya and lischynonka.» Kremenetskiy competition choirs gathered a large number of students, both in cities and remote villages. Such measures contributed to the development and promotion of choral performance, enhance level groups, revival concert life in Volyn. Residents Kremenechchyny attached great importance to the development of instrumental music. There amateur string orchestra, instrumental composition containing a predominantly violin and folk instruments (mandolin, balalaika, domra). These bands have worked with. Mizyuryntsi Kremenets district and the city. Radivilov. Mizyurynskyy staff (headed. D. Lavrenyuk) had repertoire medley of Ukrainian folk songs [7; pp. 16]. Radyvyliv team, according to Career program was more professional. Popular »Wedding sounds» J. Strauss, »Champagne wave» Botari »Viennese Waltz» Grigorieva, excerpts from operettas Feldman »Queen of Flowers» [7; pp. 18]. In addition to functioning strings brass bands, participants were rural muzykanty- amateurs. For example, in the village. Shpykolosy Kremenets district staff accompanied a musical registration productions of theatrical plays, played the evenings recreation and other concert performances. The great popularity Volyn Symphony Orchestra, which was created Kremenets Lyceum initiative teacher E. Gachet 1930 team members who numbered 40 people were members of the military orchestra of 12 Regiment of Lancers Bilokrynytsi, near Kremenets Lyceum students, local musicians [15; 9]. Thanks to talent manager soon have staff performed in concerts that are regularly held in the participation of prominent Polish soloists. So, on the evening dedicated to the works of Mozart and Chopin, held on 30 November 1930, performed by the orchestra sounded the overture to the opera Mozart »The Marriage of Figaro» and Piano Concerto d-moll (soloist B. Cohn - participant of the International Competition. Chopin and International Competition in Vienna) [15; 9]. Repertory Orchestra composed works of classical, romantic and contemporary music, including Overture Beethoven «Egmont» symphonic triptych E. Gachet «Epitaph», «Grave» and «Heroism», and as concertos for violin and orchestra Beethoven D-dur (soloist M. Bauer), H. Wieniawski d-moll (soloist V. Kohanskyy). Thus, during the 20-30 years of the twentieth century worked on a significant number Kremenechchyni theater, dance, choral and instrumental amateur groups. Conducted celebrations and concerts indicate that the inhabitants of the land supported and showed respect for prominent figures, poets and composers, propagated Ukrainian music culture among the population. Theatrical and musical groups contributed to the preservation of Ukrainian culture, brought national identity, developing artistic and aesthetic preferences of the population, which contributed to the development musical culture of the inhabitants of the South-Western Volyn.

References 1. State Archive of Ternopil region (hereinafter - the State Archives of Ternopil region.) F. 348, op. 1 conjugation. 68, 34 ff. 2. State Archives of Ternopil region., F. 348, op. 1 conjugation. 101, 31 ff. 3. The State Archives of Ternopil region., F. 348, op. 1 conjugation. 111, 67 ff. 4. State Archives of Ternopil region., F. 348, op. 1 conjugation. 134, 183 ff. 5. State Archives of Ternopil region., F. 348, op.1, conjugation. 457, 119 ff. 6. State Archives of Ternopil region., F. 348, op. 1 conjugation. 458, 194 ff. 7. State Archives of Ternopil region., F. 348, op. 1 conjugation. 460, 48 ff. 8. Vitenko O. Memories / O. Vitenko // G. Chernyhivskoho personal archive. - Folder »Vitenko O. L.» .- 42 p. 9. Voloshin Memories / Alexander Voloshin // G. Chernyhivskoho personal archive. - Folder »Voloshin AV». - Notebook III. - 36 p. 10. Yefimchuk F. Essays on the History Derman schools / F. Yefimchuk. - Derman: [b. in.], 2002. - 112 p. 11. Mr. Berezovsky medveduk Gregory / AP medveduk // Ternopil Collegiate Dictionary. - T. OJSC TVPK »Zbruch», 2004. - T. 1. A TH. - 696 p. 12. Chernyhivskyy G. Kremenechchyna from antiquity to modernity / G. Chernyhivskyy. - Kremenets, 1999. - 320 p. 13. Gipsk J. Koncert chóry nauczycielskiego / J. Gipski // Życie Krzemienieckie. -1937. - № 9. - S. 189-190. 14. Robak B. ... Lećpieśniwdal - o leć! jakgrzmot! .. / B. Robak // Zycie Krzemienieckie. - 1934. - № 3. - S. 92-94. 15. Sh. S. KoncertyorkiestryWołyńskiej / S. Sh. // Źycie Liceum Krzemienieckiego. - 1931. - № 2. - S. 9-10. Summary We consider small illuminated page of amateur groups Kremenechchyny 20-30 years of the twentieth century. We study the work of theater, choral and instrumental groups, concerts and analyzed its impact on the development of musical culture Volyn. Tags: amateur groups, string orchestras, choral and theater groups, repertoire concerts.

Summary Legkun O. Аmateur groups activities of Kremenechchyna in 20-30 years of the 20th century We consider small illuminated page of amateur groups Kremenechchyny 20-30 years of the twentieth century. We study the work of theater, choral and instrumental ensembles, concerts and analyzed its impact on the development of musical culture Volyn. The importance of regional cultural research practice in today’s conditions, displayed the most successful examples of this. Attention is focused on the specific features of the region, which in the aforementioned period was part of another state is not a socialist direction and built their original cultural and artistic life. It is noted that while Kremenets was one of the main centers of education and culture, has always been an active theatrical life, were touring famous Polish musicians organized regular art exhibitions, competitions were held with the educational choirs. In the cultural and educational field amateur creativity has always had an important social role and found expression in the creation of theater, choral and choreographic amateur groups. We consider the artistic achievements of amateur theater given period; series work most notable amateur groups and performers. All these achievements are analyzed in modern regional measurements revealed that the creative achievements of small groups of amateur artists of the time bases, particularly such as Pochaiv. Attention is paid to the previous experience of the artistic directors of theatrical performances, their level of special education. In this regard revealed specific organization of art education in the province, linking it to the development of the then pressing problems of the region. Discovered and state organizations choreographic amateur creativity; highlights the most notable achievements in this area, repertory programs of some of them, specific interpretation Ukrainian repertoire, attention is focused on tours of art groups and the public reaction to their public appearances. In the article the system of organization and training of local art educational institutions that have tradition, established back in the eighteenth century. Cited the popularity of graduates coryphaeus Ukrainian Vasyl Avramenko dance in choreographic culture of artists region. Among other areas of artistic practice Kremenechchyny discussed in the article mentioned most typical Ukrainian genre, which is the choral art. Amateur teams, working in almost all branches, established on the basis of local church choirs or played together with drama when setting performances. Replenished his repertoire Ukrainian folk songs, works of M. Leontovich, Stetsenko, M. Lysenko, they become active participants in the literary and musical evenings, concerts on various memorable dates and anniversaries. The article also detailed creative achievements (artistic director and their teams) and in this kind of art. The detailed description of concerts dedicated to the anniversaries of prominent Ukrainian culture. Emphasized that almost all the art groups to its performances practiced hearing some comment about the work of a composer, author of the literary text and thus expanded the educational aspect of their performances. The paper emphasized the role of the use of Western classical music that has shaped the local musicians artistic taste, perception instilled major-minor system. The attention and practice of church choirs that in Western Ukraine played an important role in the spiritual culture; disclosed specifics of their repertoire, touring; The use of modern leaders and contemporary repertoire that shaped their members to accept new music trends. Emphasized the practical measures necessary organizational structures (Kuratoriya Volyn school districts) for the organization of people’s choirs in the region, which would provide in its activity dramatically and cultural education of the public through the development of folk art, especially songs. The best works of amateur choirs helped regular conferences and annual county competitions that turned into crowded concerts of choral art, helped popularize the best examples of Ukrainian and Polish music, choral involvement volynyan to music. In concert life greatly influenced the establishment and the Volyn Symphony Orchestra Kremenets Lyceum (1930), who testified to the great professionalism of amateur art movement. Work features extensive use of archival material that makes more convincing the argument of the author. Key words: amateur groups, string orchestras, choral and theater groups, repertoire, concerts, conferences, church choirs repertoire, tours, organizational and methodological measures, the public, leading figures of Ukrainian culture.

Abstract Lehkun A.G. Activities Kremenechchyni their amateur collectives in the 20-30-ies Twentieth century Rassmatryvaetsya few pages osveschennaya their amateur collectives activities Kremenechchynы 20-30-ies of XX century. Business Yssleduetsya theater, and instrumental horovыh collectives, analyzyruetsya kontsertnaya Activities and Her Influence on the Development muzыkalnoy Volyn culture. Keywords: lyubytelskye kollektyvы, strunnыe orkestrы, horovыe and teatralnыe kollektyvы, repertoire, concerts. Received 11.11.2014

UDC 94: 78.087 (477) T.I. Rosul

MUSIC AND DRAMA COMPANY »BOYANA» IN UZHGOROD (BASED ON THE THEN PERIODICALS)

Cultural and historical processes in Transcarpathia interwar period, their complexity and ambiguity, incredible intensity deployment discussed almost since the late 20’s. XX century., When new phenomena in society became visible. The scale and cultural processes phenomena and dynamics of social transformations in the interwar period cause strong interest in it researchers. Despite a sufficient number of scientific studies, to completeness in reporting specific culture Subcarpathian so far away. Specifically, if features of literature, theater largely covered, special attention is paid to of theCompany «Enlightenment» and »society them. A. Duhnovicha », then on music and its individual aspects, many questions remain open. The purpose of this article is analysis of Music and Drama Company »Boyan» in Uzhgorod In 1920-1938 years. Understanding the spiritual and socio-political context is impossible without an analysis of the day contemporary press, which recorded a cultural facts in the process of creation, current vidobrazhuvala developments in various fields of artistic life and public reaction to them. Therefore, present requires a comprehensive and thorough analysis of periodicals Carpathian Ruthenia and the introduction of scientific use of all sources that facilitate the study of the history of the culture of the region. The subject of our analysis were the reviews and notes of various types of periodicals Russian, Ukrainian, Slovak, Czech, Hungarian. Also, information about music events can be found on posters and ads, which are often published in the press. Many researchers, studying in a particular culture perspective Carpathian Ruthenia, note that in this period occurred rapid updating and changing aesthetic ideals in all aspects of life, expanding the range of people to organize cultural pryluchalysya educational activities. Evidence of this are the numerous rallies, discussions, meetings, creative associations etc. that operate in the 20-30-ies. XX century. The massive creation of various cultural and political entities in Subcarpathian Rus demonstrated a democratic foundations of the society in interwar Czechoslovakia. Mostly the company formed along ethnic lines, provided they meet the cultural national and professional interests, were guarantors of civil liberties. One of the first examples of such associations was musical and dramatic society »Bojan», founded in Uzhhorod in 1920 under the leadership of L. Tyblevycha. The name of the company (the name is taken from the singer referred to in »The Tale of Igor») is Association with similar organizations operating in Galicia from the late nineteenth century. The first »Boyan» was established to support music and choral singing in Lviv (1891, Chairman - V. Shukhevych). Subsequently, there was a network of similar societies in Berezhany (1892), Kolomna (1895), Chernivtsi (1899), Ternopil (1901), Stryi (1901), Kiev (1905), Poltava (1911) and others. »Boyani» formed as a union of lovers, but later became centers of trade musicians. When companies were choirs, music schools, music publishing and more. On a continuity of traditions Uzhgorod »Boyana» with similar music societies suggests first edition of »n pesennyka for children and young people» [6], which contains examples of creativity activists Galician »Boyana» I. Vorobkevych, IV and VI Hushalevycha Naumovich. In addition, there are joint forms and principles of the above-mentioned companies. However, unlike from others Uzhgorod »Boyan» showed Russophile orientation. Charter Uzhgorod Music and Drama Company »Boyan» was approved school ABSTRACT civil administration Carpathian Ruthenia 06/22/1920 p. And defined the goal of Organization: »rasprostranenie vъ Karpatskoy Rus znaniya Music, psny, teatralnaho art, dramatycheskoy literature in general, russkago same Creativity vъ Features »[3; ark.1]. The main means of achieving this goal are: »1) Arrangement shkolъ and kursovъ Music, pniya, teatralnaho art and vыrazytelnaho chteniya; 2) organization orkestrovъ, horovъ, teatralnыhъ kruzhkovъ, teatralnыhъ druzhynъ, teatrovъ; 3) Arrangement muzыkalnыhъ, lyterturnыhъ, teatralnыhъ vecherovъ, utrennykovъ, puteshestvuyuschyhъ orkestrovъ, horovъ teatralnыhъ druzhynъ and lectures posvyaschennыhъ эtymъ art of otraslyamъ; 4) Arrangement and soderzhanie muzыkalnoy and teatralnoy of Libraries; 5) yzdanie zhurnalovъ, sochyneniy and knyhъ muzыkalnaho and dramatycheskaho soderzhaniya»[3; pp. 1]. Under the Charter, member of society »mozhetъ bыt kazhdoe charge Russkaya nationality» [3; pp. 2] by paying CZK 5. introductory and 3 Kc. monthly fee. Accordingly, the reasons for exclusion from the society were to evade payment of membership fees for one year or criminal action or change »svoeho national ubzhdeniya and dystvye t vredъ society» [3; pp. 3]. Thus, note that although the constituent documents do not indicate that communication of a specific political parties, the national question was extremely important in its activities. During active resettlement in Subcarpathian Rus political refugees from Russia, which were opponents of Bolshevism and Muscophiles from Galicia, Bukovina and other regions, society »Boyan» satisfy their national and cultural needs and served as a means of consolidation. Initiative organization »Boyana» belonged L. Tyblevychu - Orthodox priests active cultural-public figure, who became the first director of the company, conducted the choir and served as director of dramatic performances. After the death of L. Tyblevycha director of the company E. selected Goshovsky - wife Uzhgorod district chief, who led the »Boyan» until the its closure (1938). The Board of the company include: L. Popovich, E. Arana, Z. Homichkova, Baletskyy V., D. Sas. The functions performed by the company director Lutchev L. and N. Sysoev – native Kharkov province, a judge, an active member of the »Society of them. A. Duhnovicha. » Since 1927 the theater section Prague topped Artist troupe Moscow Art Theater A. Kuftina-Poluektova. Chorus »Boyana» led by A. Zarubin (1926-1933 gg.) And P. Miloslavskii (1933-1938 gg.). Activities Uzhgorod »Boyana» realized mainly in the form of theatrical performances, concerts (in honor of T. Masaryk, Pushkin, Turgenev, Rimsky-Korsakov, Tchaikovsky, M. Ippolitov-Ivanov et al.), Conducting »Russkaya days of culture,» participation in worship and speeches on the radio. Furthermore, in terms of socio-political paternalistychnyh realities Choir »Boyan» constantly was involved in the celebrations connected with the opening of bridges, construction of roads, the building of new neighborhoods and more. The stage musical and dramatic activity Society was not very intense. Total number of theater productions was 3-4 performances a year, the choir performances - almost two dozen. The newspaper »Russian People’s holosъ» noted that »The total number of performances for 1937 - 19 of them independent concerts - 2 radiokontsertiv – 6, academies and speeches at the ceremony - 11 »[5; 3]. A situation no indication own concert hall and warehouse mostly amateur team, which was formed from among talented Uzhgorod and mukachivtsiv. The deficit of public hall in Uzhgorod felt until the 50-ies. XX century. In the interwar period in Uzhgorod were only three adapted for public performances room - Rus theater »Prosvita» People’s House «Enlightenment» (which by specific political orientation is not used »Boyana») and hall «Casino.» Location speeches »Boyana» during the first decade of its activity was limited Uzhgorod and Mukachevo - the cities of compact residence of the Russian-speaking population. After purpose choir director Peter Miloslavsky team significantly expanded the range of performances, including in the tour plan Prešov, Košice, Hust, Coast and surroundings Uzhgorod. Typology of concerts and theatrical performances of the society in general was their is aimed at mass audience. The most common and diverse in form and content were benefisni program. The repertoire of the theater section of society were performances and L. Tolstoy, Gogol, Pushkin, Ostrovsky, Chekhov, Vladimir Krylov vaudeville and fabulous performances for children. As for the choir reviewers remarked that »wider scale repertory currently has no Choir Carpathian Ruthenia. Beginning of Russian folk songs in all their dialects and species Beauty through songs of other Slavs, works of opera character, he ascended to the highly execution of Russian sacred music, which are now the pride and admiration of Russians world »[7; 4]. In particular, the program of the concert choir April 20, 1933 included two sections: First - consisted of spiritual compositions of M. Kozhin, A. Lvov, G. Lomakin, A. Archangel, Rimsky-Korsakov, P. Chesnokov. The second part presented Russian folk songs »My Horы vы» »Ah right t lypenka», »torch-luchynushka» »Mademoiselle Poyda I vыydu Mademoiselle I» »Raznenastnыy day Saturday», »Dubinushka» »As for rechkoy, brattsы», »Mostovoy in the streets» in processing A. Alexandrov, A. Hrechaninov, V. Kibalchycha, P. Chesnokov, P. Miloslavsky. In order to diversify the repertoire P. Miloslavskii constantly invited to performances known foreign artists, such as opera singer and pianist Evert E. E. Hausmann. It gave music lovers the opportunity to hear arias from operas V. Blodeka «In galantine», «Mussorgsky’s» «Boris Godunov, «Tchaikovsky» Queen of Spades «and» «Eugene Onegin», «Glinka’s» A Life for the Tsar and others. Some reviewers in newspapers expressed the wish to expand the choir leader riznonatsionalnym song repertoire material. Responded to P.Myloslavskyy request, as evidenced concert programs 1937-1938. containing Czech, Hungarian folk songs and choral treatment Carpathian melodies, masterfully embodied by the conductor. The materials contained contemporary periodicals considerable array of information, reflecting a wide range of concert «Boyana», and not only at the level chronicles cultural events, and and publications that reflected the evolution of the creative team. Teatroznavets E. Nedzel’skyi noted that »Russian theater direction, though he was not regularly represented, but in the professional and amateur performances of high artistic and holding brand Russian theatrical tradition ... He gave examples of productions showed techniques of the game and left a some fans, who began his artistic career but not sacrificed lightly official career ideas for the future of the Finno-Russian professional theater »[2; 50-51]. Reviewer »n folk votes» reported: »Accidentally going fine voice storage, accidentally headed the company was energetic and active organizer in the person A. Goshovsky head, which for so many years has managed to keep society from disintegration and, of course, by chance managed to attract the chorus of this beautiful conductor, which is P. Miloslavskii. From raw material Miloslavskii a short period has managed to create the thinnest and sonorous instrument that responds to all the nuances »[6; 2]. Correspondents of the newspaper »Carpatho-russkiy vistnyk» said: »The choir of the Society currently holds Bojan three pillars: a relentless energy and ability Presidency Goshovsky E., wife of the District Head, sacrifice and experience the conductor P. Miloslavsky and love songs of the choir members. On the last occasion is especially noteworthy, as the choir nationality, political and other convictions so varied that surprising great power of art that vpryahaye one chariot «horse and quivering doe» [1; 3]. On one of the concerts the choir held 21 April 1933 in the great hall of the House »Society. A. Duhnovicha »critics noted:» What makes the chorus is »Bojan», or rather what he creates with his conductor P. Miloslavsky - a phenomenon of great cultural and aesthetic power »[8; 73]. «Triumph of Russian Art» - so named the newspaper »Kassai Ujság», »Pravo ludu», »Vychod Republiky »touring choir» Bojan ». The constant presence at his concerts officials (including them governors Carpathian Ruthenia Beskid A. and K. Grabar, A. scattered, General L. Prhala, District chief V. Goshovsky, myhaylovetskyy District Chief Dr. L. Velhosh) proves significant popularity and recognition of the team. A talented and charismatic conductor, good connoisseur of Russian song and choral traditions, active social and cultural activist P. Miloslavskii directed the choir at work channel real professionalism. Under his management team finally formed original performing style, devoid of external showiness and pathos. Careful selection participants diligent educational and musical and educational work with the performers allowed P. Miloslavskys achieve harmonious ensemble, organic combination of popular manners singing, freshness and bezposerednosti folk performing arts high professionalism, many years of persistent work. Considerable importance in the cultural life of Carpathian Ruthenia had educational lectures and radiovystupy Miloslavsky AP reports on the life and works of prominent Russian artists: Pushkin, Lermontov, Tchaikovsky, Fyodor Chaliapin, A. Archangel and others. These Conductor measures not only promoted activities »Boyana», but drew attention to the importance music and theater in the cultural life of the region, raised the problem of artistic and aesthetic education people. Active creative activity Uzhgorod »Boyana» lasted until 1938, after which, due to objective reasons, she declined, but has left its mark in the artistic life of the region. Creative Union had a clear program of activities, which included education and advocacy, educational and concert-performing sector. Along with the company »Enlightenment» and »society them. A. Duhnovicha »musical-dramatic society» Boyan »has been a center of spirituality and Culture professionalization Carpathian Ruthenia. Analysis of newspaper materials that reflect the artistic process Transcarpathia interwar period allows the following conclusions: • Press on the pages covering not only chronicle of musical events, but also stimulated to fans of creative activity, has become sensitive indicator of the formation of public thought; • Periodicals interwar period reflected the difficult situation of cultural conflict Ukrainophile and Russophile trends in Subcarpathian Rus and in the musical life land; • performing, publishing and educational activities »Boyana» served as a mouthpiece distribution Russian cultural heritage, promoting the idea of community and cultural origin Carpathian Ruthenia unity with Russia; • choral concert and theatrical practice Uzhgorod Music and Drama Company »Boyan» reflect the characteristics of the musical culture of the region interwar period: the evolution from amateur - professionalism, the importance of cultural orientations in shaping national repertoire, active involvement performances of foreign performers, expanding the range of genres and concert opportunities.

References 1. Carpatho-russkiy vistnyk. - 1923 - 10 Junius. 2. Nedzelskyy E. Finno-russkiy teatrъ / E Nedzelskyy. - Uzhgorod: Unio, 1941. - 112 p. 3. Family Goshovsky archive. Statute music-dramatycheskaho society »Bojan». Typing. - 1920 - 7 pages. 4. Russkiy People’s voice. - 1935 - 5 April. 5. Russkiy People’s holosъ. - 1938. - 21 iyulya. 6. Russian pesennyk: for children and young people / comp. Leo I. Tыblevych; Muz.-dramat. O-in »Boyan» in Uzhgorod. - Uzhgorod: Lytohr. E. Lama, 1920. - 29 p. 7. Triumfъ art of russkago (Concerts choir »Boyanъ» vъ east. Slovakia) // Podkarpatskaya Russia. - Rochnyk III. Part 4 - Uzhgorod, 1933. - 25 April. - P. 73. 8. Yubyley Islands Boyanъ // Carpatho-russkiy voice. - 1935 - 29 May.

Summary S activity Music and Drama Company »Boyan» in Uzhgorod (1920-1938 biennium.) analyzed the specific repertoire, features live performances, the role of art Heritage Society Carpathian Ruthenia culture. Keywords: musical-dramatic society »Boyan» repertoire, choir, theater group, review.

Summary Rosul T. Тhe activity of uzhgorode musical-dramatic society »Вoyan» (after materials of periodicals of that time) Analyze the socio-cultural situation in Transcarpathia during 1920-1930 years. The attention on the fact that although this day and is somewhat covered in special scientific field, however full edge research in this context is not conducted. Made a special focus on organizational and artistic activities Society. A.Duhnovycha and other similar structures that channeled its activity on the literary, theatrical life of the region, the issue of music and its individual aspects currently considered only briefly. Sactivity Music and Drama Company »Boyan» in Uzhgorod (1920-1938 gg.), Analyzed the specific repertoire, features live performances, the role of artistic heritage association in culture Carpathian Ruthenia. The article emphasized that the massive creation of various cultural and political entities in Subcarpathian Rus showed the democratic foundations of the society in interwar Czechoslovakia. Mostly partnership formed along ethnic lines, provided they meet the cultural, national and professional interests, were guarantors of civil liberties. One of the first examples of such associations was musical and dramatic society »Bojan», founded in Uzhhorod in 1920 under the leadership of L. Tyblevycha. The author analyzes social and cultural bases of its creation, revealing the specific organization and role in shaping the spiritual culture of the participants and spectators, while stressing that the wars in Uzhgorod were only three public performances adapted to the room – Rus theater company »Enlightenment», People’s House »Enlightenment» (which, because of specific political orientation is not used »Boyana») and hall »Casino». Typology concerts and theater performances of the society in their general was aimed at mass audience. The most common and diverse in form and content were benefisni program. The repertoire of the theater section of society were performances and L. Tolstoy, Gogol, Pushkin, Ostrovsky, Chekhov, vaudeville V. Krylov and fabulous performances for children. The article contains many examples of comments on the artistic programs of the company, its individual problems and others. The materials contained contemporary periodicals considerable array of information, reflecting the wide range of concert »Boyana», and not only at the level chronicles cultural events, but also publications that reflected the evolution of the creative team. Considerable importance in the cultural life of Carpathian Ruthenia had radiovystupy educational lectures and presentations P. Miloslavsky about the life and work of prominent Russian artists: Pushkin, Lermontov, Tchaikovsky, Fyodor Chaliapin, A. Archangel and others. Such measures not only the conductor promoted activities »Boyana», but drew attention to the importance of music and theater in the cultural life of the region, raised the problem of artistic and aesthetic education of the people. The paper used Source study material that most clearly reveals the essence of the processes taking place in the Carpathian region in the interwar period. By carrying out extensive research, the author concludes that: – Press on their pages covering not only chronicle musical events, but also to stimulate the creativity of fans, became a sensitive indicator of public opinion; – Periodicals interwar period reflected the difficult situation of cultural confrontation Ukrainophile and Russophile tendencies in Subcarpathian Rus and in the musical life of the region; – Performing, publishing and educational activities »Boyana» served as the mouthpiece of the distribution of Russian cultural heritage, promoting the idea of common origin and cultural unity Carpathian Ruthenia with Russia; – Choral concert and theatrical practice Uzhgorod Music and Drama Company »Boyan» reflects the characteristics of the musical culture of the region interwar period: the evolution from amateur – professionalism, the importance of cultural and national orientations in the formation of the repertoire, active involvement in the performances of foreign performers, expanding the range of genres and concert opportunities. Key words: cultural and artistic processes in Transcarpathia, Music and Drama Company »Boyan» repertoire, choir, theater group, review, periodicals, authors, concert life, touring, members of amateur movement, theatrical performances, theater room. Western Ukraine.

Abstract TI Rosul Activities dramatycheskoho music-society »Boyan» in Uzhgorod (by Material peryodyky of the time) Music and reflections Activities drammatycheskoho society »Boyan» in Uzhgorod (1920s 1938 gg.) Specificity proanalyzyrovana repertoire Features kontsertnoy activities, opredeleno role in the artistic culture Heritage Society Podkarpatskoy Rus. Keywords: music-drammatycheskoe society »Boyan» repertoire, choir, teatralnыy circle, Review. Received 10.13.2014

UDC 784.1 (477.81) »Second floor. The twentieth century.» G.S. Peas

VOCAL AND CHORAL LANKA AS PHENOMENON IN CHORAL SINGING THE SECOND HALF. XX CENTURY (ON THE EXAMPLE RIVNE)

Problem, analysis of recent research. During the revival of cultural and spiritual achievements of the Ukrainian people amateur choral singing is crucial in research and popularization of Ukrainian musical heritage. Vocal and choral link as structural unit low forms of choral singing has spread in the Soviet period of development of Ukraine 40-50-ies of XX century. In Rivne popularize choral parts was significant. Mostly in such groups, the number of 9-12 persons united residents of one or several villages, mostly workers, which sought to convey to the listener Ukrainian song, folk customs. Choir Lanka emerged as an intermediate form between vocal ensembles and choirs, in the period of Soviet amateur choir ceased to exist transformed into vocal groups in the early 1990s. twentieth century. Lack of studying the phenomenon of formation choral parts and the factors that contributed to their development determine the relevance of the chosen topic. The aim of this study is to analyze the vocal and choral managers as a specific phenomenon in choral art of the second half. The twentieth century. the example of Rivne. Special literature that would be covered links choral activities in Ukraine in general and Rivne region including today almost absent. Only in rare find mention of quests their formation and development. Thus, Article L. Hapon refers to the choir-link as a specific form Rural choral culture of the Soviet era [2]. Publish M. Korniychuk covers activities hor- links with. Kurash Dubrovytsky area [6] B. Kobrys - choir-level collective farm. Vatutin Stepanskoho area [5] Article L. choir dedicated to Nagorno-link with. Zolotolyn Stepanskoho area [8; 4], S. Shevchuk - choir-link the village. Forestry Dubrovytsky area [12; 4]. The brochure M. Ponomarenko »Formation and development of amateur performance in Rivne »contains data on the activities of the choir-units in the province. [9] An interesting analysis is the work of T. Kydun of E. Horuzhy, choir- party links from the village. Sinchytsi Zarichnyanskoho area [4], which contains short essay on the life and work of E. Horuzhy and activities choir Lanka. More information on vocal and choral managers in Rivne found in the collections of the State Archives of Rivne region (hereinafter Daro). Main results. As remarked by L. Hapon, the emergence of choral parts begins with rural ensembles, of which formed in villages and choral managers. Instead, their example in urban environment there are professional and amateur folklore and ethnographic ensembles. Further the author notes that the 70-ies of XX century. in the western regions of Ukraine continued revival of traditional folk music culture, which is implemented by conducting different kinds of festivals, reviews amateur art workers, concerts, devoted to anniversary of USSR, the Days the birth of Vladimir Lenin, etc. [2; 295]. It is through these forms of artistic self-realization and showed himself choral groups and their members. The first information about the choir in Rivne region links contained in Daro m. Rivne, refer to 1950s. At that time, their activities related to the cluster, district and regional surveys creative district. About indicate their activity sheets and accounting amateur choirs Rivne. According to archival materials, one of the first chorus created Lanka collective farm. Kirov with. Khoryv Ostrog district (12 people, was founded in 1950), choir-link with rural club. Flat Rivne region, with 10 participants, established in 1951 [5; pp. 50]. It should be noted that the analysis of archival material differences occur. In particular, the case 48, pp. 50 P-597 description contains information other than that contained in the pages. 12 of the same description regarding choir-link with. Flat Rivne region. Yes, ff. 50 date of foundation staff filed in 1951, the number of participants - 12, and pp. 12 - 1948 and 9 members. Unfortunately, such incidents are Quite often, which makes it able to operate with accurate data and precise analysis of the material. 1951 dated founding year of choir-link with. Thrush Tuchynskoho area (13 participants). 1955 created the famous choir in the territory Rivne-link with. Zolotolyn Stepanskoho District 12 participants [4; pp. 9]. Typically, managers choral parts were lovers of choral singing – link, farmers, workers, had special education. Only occasionally they had music or profession semi-annual training courses artistic director. Yes, choir-link with. Khoryv led Collective Farm, s team. Flat - musician, zavklubom Ivashchuk [5; pp. 12], chorus-link with. Drozd – zavklubom with. M. Drozd Vasylchuk [5; pp. 183], chorus-link with. Middlings Rokytne area – teacher William Komarchuk. The head of the choir-level collective farm. Chapaeva with. Bogdanov was Koretsky district zavklubom I. Prunus. Khor link with the club. Lyukcha Sarny District sectional managed A. Nykolaichuk. Avdimerets sectional G., head of choir-link with. Zolotolyn also had professional education. Despite the tangibility special musical training, the choir repeatedly links the winners of competitions and festivals, because of the Ukrainian song reflected the strength and power Ukrainian folk polyphony. In particular, Article VI Katruk »Song in the heart vidizvetsya» noted that the cluster survey in with. Large Tseptsevychi jury of interest-link chorus collective farm. Shevchenko, in which collective singing and link and milkmaids, and librarians. Their performance featured Ukrainian folk song »Two gardens processed »,» I dug beets »,» Oh, I go to the office, »» Embroidered Shirt »marked» coherence, Upland cheerful singing »[3; 4]. The postwar 1950’s. Were the most fruitful for the development of vocal and choral art and contributed to the emergence of a large number of both amateur choirs and vocal-choral parts or not every club Rivne villages. Unfortunately, a lot of information about their creative activity is not reached We, however archives to isolate the most active of them. Thus, among the choral parts marked active in the 1950s. Were choir Lanka with. Pidlytky Chervonoarmiiskyi area, choir-level collective farm. Malenkov with. Middlings Rokytne district (1953), »Komsomolets» p. Bychal Derazhnenskoho area (1955) them. Chapaeva with. Bogdanov Koretsky district (1955), choir-level clubs with. Lyuhcha Sarny District (1953-1955 gg.) [7] with. Rubche collective farm. Budonoho district of Alexandria (1955), choir Lanka beet growers farm »Leninsky way» Demidov District (1957-1959 gg.) [8; pp. 47], chorus-link with. Vilia Ostrog area [10; pp. 18], chorus-level collective farm. Zarichnensky Lenin district named. Vatutin Stepanskoho District-level choir with. Fedorivka Goshcha area [11; pp. 54], p. Fedorivka [11; pp. 65] and with. Triskino Sarny District [12; pp. 42], p. Zaslav’ye Rokytne area. The repertoire of the choir-units were songs like »Soviet» character, such as: S. Zhdanov »Party wisdom and strength, «G. Zhukovsky» Death War »G. Ropes» Song of Lenin »,» The collective farm polka » and the Ukrainian people: »Oh no noise and dry dube», »I will go to the link,» »Oh, in the field, oh box», »Oh, in was still white birch »,» Oh poplars in a field two »,» Under Kalina »,» Above the transparent wells, »» Oh, on the mountain wheat and oats in the valley », Transcarpathian rhyme» Spivanochky their fun sing »and many others. Often participants choral songs created links on their link, their village. Was known choral link with. Yatskovychi collective farm. Sosnivsky Sverdlov region organized in 1955 Director collective - farm sectional N. gardener. Repertoire - «Song of the Hero of Socialist Labour M. Lake »to the music of P. Maiboroda, Ukrainian folk song» Oh field, fields kolkhoz», «Cane alkali buzzing» and the song of the Komsomol youth link (by N. Ogorodnyk) [7; 4]. Was a popular and »Song viliyskyh lonarok» choir-link with. Vilia Ostrog district. Performed Lanka Choir songs for speech and music Ukrainian composers: P. Maiboroda »Dnepr», »Rozlyahalysya fog» used the work of the fraternal peoples: Russian folk song »For mountain in the well »,» Family »,» Siberian flax »,» Together We absorbs bread »and amateur songs Rivne composers and poets to music. D. Nemchenko »The collective farm round dance» to music amateur composer V. Kyrylchuk »There were funny Komsomol.» However, the bulk of repertoire consisted Ukrainian folk songs which reproduce features of rural life, folk decency and rituals. Often choirs and choral managers were also in the regional center. Thus, at the regional festival of amateur performances that took place on the summer stage park. Shevchenko on May 28 1961 was marked by the positive performance of the choir-link with. Senchytsi Zarichnensky area. The participants performing contemporary folk song »From Moscow to the capital Polesie» [9; pp. 36]. And the program concert performances Volodymyrets area at regional festival in the city. Exactly states performance of the Komsomol youth-choir-link with. Sennoe Goshcha area with the number »Evening over Borzhava »M. Mashkina [9; pp. 42]. It should be noted that at the district and regional creative reviews only got better choir ensembles and vocal and choral managers, selected on the rural cluster surveys. For example, with program of the final concert of the regional review of amateur Rivne December 25 1955 learn that to speak at regional level chosen choir-level collective farm. XVIII Sarny District Party Conference, farm »Pravda» Stepanskoho area, link them. Lenin Klesivsky area [6; pp. 30-35]. Was a great honor to be elected to regional or republican reviews. This contributed the popularity, as evidenced by the memories of group members. The work of E. Horuzhy, Party choir-link with. Senchytsi is information about this statement: »In January 1954 the choir-link farm »Zarya communism» p. Senchytsi performed at the glorious stage theater. Franko in. Kiev. It was an unprecedented success for Polishchuks. The memory of that speech store photos in each house Member of the concert. They sang the song »My Vanya mowed hay.» She captivated listeners immediately got on Union Radio »[4; 13]. Article V. Kobrys »Zbyraymosya link in» refers to the success of the choir-link with. Kurash Dubrovytsky area «Choir Lanka applauds journalists at the party meetings with readers in District House of Culture, villagers, young men going to serve in the Soviet Army, their are invited to participate in television programs, record on the radio ... »[5; 4]. Repeatedly choir performed at the All-Union level examinations, receiving various kinds of awards and diplomas. By Order № 376 on the Rivne Regional Department of Culture of 29 December 1955 »On encouraging members of the regional review of amateur in 1955 »for achieving high Excellence in performance art show full repertoire on the regional review of rural took the initiative: second place:-link chorus collective farm. Klesivsky Lenin district manager N. Zgurskiy and choir-link with. Zolotolyn farm »Pravda» Stepanskoho district manager G. Avdymirets. Third place: Choir-link collective farm. Sosnivsky Sverdlov region, the head gardener NF [2; pp. 3]. Khor link Sarny District (headed. Kravchenya AM) was selected to the regional festival dedicated to the 50th anniversary of the USSR. Speakers choir members Lanka and the Belarusian SSR [14; pp. 15]. Following the festival of amateur Rivne region in 1961, dedicated to the XXII Party Congress, for his active creative work were awarded choir-link with. Sennoe Goshcha area (second prize), choir-link farm Chapaeva with. Bryk Koretsky District Choir Lanka with. Knyazivka Bereznovsky region, choir-link farm »Zarya» p. Dubrovytsky Brest region, hor- link with. Senchytsi Zarichnensky area (third prize). In addition, the executive committee of the Regional Diploma Council of People’s Deputies and the Presidium of the Regional Council of Trade Unions awarded choir Lanka with. Sudche Zarichnensky district [1; pp. 150]. The program of the regional festival of amateur art Rivne dedicated to the 50th anniversary Great October Socialist Revolution (14-21 May 1967), received third degree diploma hor- link farm »Leninsky way» Mlyniv area. The team performed a work of amateur Rivne composer D. Nemchenko »links of Song» and the song lyrics and music for choir Lanka: »Come to us» [13; pp. 38]. It is worth noting that the leader of this team has been known to the land territory of Hero of Socialist Labor, deputy of the Supreme Soviet Antonina Hladchuk [3; pp. 2]. A similar award, bachelor degree, received a chorus-link with. Kurash Dubrovytsky District performing Ukrainian folk songs: »Over my garden», »Oh, there’s the mountain» [13, pp. 31]. At the regional Festival dedicated XXV Congress of the CPSU (1976), and this team was awarded the Prize [11; 2]. It should be emphasized that the choir-link with. Kurash was quite popular in the territory of Rivne. In different time its leaders were Chernyavska A., M. Korniychuk (since 1967), P. Stepaniuc (since 1970). Hor- link became twice winner of the festival dedicated to the 50th anniversary of the Soviet Union and 100- anniversary of the birthday of Vladimir Lenin [14; pp. 12], her performances broadcast on the republican television. Under the leadership of Mr. Stepanyuk in 1973 was marked by staff of Presidium Verkhovna Rada of Ukraine, and in 1975 won the »national amateur title» Choir Lanka. At the All-Union review of amateur art dedicated to the 40th anniversary of Victory in Great Patriotic War medal awarded laureate and P. Stepaniuc. The same awards M. Ivashyna received, member of the choir-link with the club. Bilyatychi Sarny district; B. Shokot, choir singer-link with the club. Fedorivka Sarny district; S. Chernenko, head of the Choir Lanka collective farm. Vatutin Dubno district; G. Yevtushenko, head of the Choir-link with the club. Ozeryany Dubno district [15; pp. 8-9]. Equally famous was and choir-link the village. Forest area Dubrovytsky founded in 1964 Apart regular performances at district and regional festivals of amateur and various concerts, the participants were winners of the national radio contest» «Golden Keys». Leader F. Gritsyuk team constantly communicated with the old-timers of different villages, authentic recorded folklore ritual songs and lyrics, which are then executed members of management. According to the article S. Shevchuk choir-link the village. Forest, concert program the team had more than 100 songs, among them - songs about Soviet life, lullabies, songs about the native land [12; 4]. Since the 80’s. Popularize choral parts in Rivne slightly reduced. To regional celebration, held in 1987 in the city of Rivne., were presented choir-link with. Islets Volodymyrets area, choir-link with. Lystvyn, choir-link collective farm. Kotovskogo Dubno District Choir-link with. Kurash Dubrovytsky area, choir-link with. Mutvytsya, p. Solomyr Zarichnensky District Choir-link farm »Mir» Ostrog district choir-link with. Bilyatychi Sarny District and choir-link with. Krupets Chervonoarmiiskyi area [16; pp. 18-27]. Often in the regional center were all sorts of art fairs, which were involved Rivne best artistic groups. Thus, at the fair in 1986 the choir performed for equation-link with. Bilyatychi Sarny District, choir-link with. Forestry, p. Kurash Dubrovytsky area, choir-link with. Hrinnyky Mlyniv area [16; pp. 31-32]. Thus, in Rivne vocal and choral managers gained promotion, mainly in the rural environment. Archival materials enable cite the following statistics that show quantitative choral composition units and the number of participants by region as of 1 January 1988 [17; pp. 10]. Areas Lanka Choir Members Bereznovsky 3 34 Volodymyretzh 19228 Goshchansky 4 58 Dubnovsky 14191 Dubrovitsky 21225 Zarichnyanskyy 13106 Zdolbunov 3 42 Koretsky 3 43 Kostopil 5 53 Mlyniv - - Ostrog 17184 Rovno 5 52 Rokytnivskyi 13148 Sarnensky 16185 Krasnoarmejsk. 9 97 m. Dubno - - m. Rovno - - Total 145 1646

Therefore, we can say that by the end of the 80’s. In Rivne is most active choir Lanka acted Dubrovytsya (19) Volodymyrets (19) Sarnensky areas (16). Somewhat lower them distribution was in Dubno (14) Zarichne (13) and Rokytne (13) locations. According to statistics in regional centers were mostly amateur and folk choirs and hor- link was not created. There was a small number of them in Rivne (5), Zdolbunovskaya (3) Korets (3), Kostopil (5), Bereznivsky (3) regions. Quite surprising is that there Data on activities choir-Mlyniv links in the area, because, since the 50’s. Their number in this area has been significant. This is evidenced by the archives, which states that hor- Mlyniv links with the area repeatedly awarded for their active work. Conclusions: Thus, the choral art Rivne Vocal and choral managers have a significant promotion. In remote areas Rivne on Dubrovychchyni, Rokytne region, Zarichnenschyni, Volodymyrechchyni, Sarnenschyni meet the greatest flowering of vocal and choral art in general and choir-units in particular. Significant progress choir Lanka achieved, buruchy participate in district, regional and Republican festival of amateur workers, art exhibitions, concerts, speaking for residents of other villages and districts of the region, promoting the art of his native land.

References 1. Bench-Shokalo A. Ukrainian choral singing: Update customary tradition: teach. Guidances. / A. Bench-Shokalo. - K., Ed. Zh. »Ukr. World », 2002. - 440 p. 2. Hapon L. The problem of education in secondary singer folk ensembles / LA // Hapon Journal of Lviv. nat. Univ them. Franko. Avg. »Philology. science. »- Vol. 43. - 2010. - P. 294-301. 3. Katruk I. Song in the heart vidizvetsya [bush review of amateur art in Great Tseptsevychi] / VI Lenin Katruk // star. - Volodimirets, 1984 - April 3. 4. Kydun TD Evdokia Khoruzhaya. Bibliographic essay. - The series »Studies» / T. Kydun. - Zarechnoye. - 2008. - 65 p. 5. V. Kobrys Zbyraymosya a link [the choir-link collective farm. Vatutin Stepankoho area] / B. Kobrys // Culture and life. - 1972 - Aug 24. 6. M. Korniychuk song Awakened by morning [the choir-link the village. Kurash Dubrovytsky area] / M. Korniychuk // Change. - 1967 - 19 July. 7. Melnikov G. Collective farm ensemble [the choir-link from the farm »Leninsky way»] / G. Melnikov // red flag. - 1959. - Dec 13. 8. Nagorno L. Collective farm ensemble [the choir-link with. Zolotolyn Stepanskoho area] / L. Nagorno // red flag. - 1959. - Dec 13. 9. M. Ponomarenko Formation and development of amateur performance in Rivne region (choir and vocal) / M. Ponomarenko. - Exactly, 1993. - 55 p. 10. Ryabunets B. Song - the fate of his [head of choir-link with. Kurash Dubrovytsky area] / B. Ryabunets // red flag. - 1990. - Apr 8. - S. 3. 11. Mr. Stepaniuc amateur artists Honors / AP Stepaniuc // Polissya lighthouse. - 1976. - Dec 9. 12. S. Shevchuk Songs happy destiny [Chorus-link of the village. Forest area Dubrovytsky] / S. Shevchuk // Red flag. - 1984. - Aug 3.

Archival Sources 1. Daro, f. 204, op. 4, conjugation. 653, 159 ff. 2. Daro, f. 478, op. 3, conjugation. 22, 80 ff. 3. Daro, f. 478, op. 3, conjugation. 603, pp. 6. 4. Daro, f. 597, op. 1 conjugation. 47, 105 ff. 5. Daro, f. 597, op. 1 conjugation. 48, 186 ff. 6. Daro, f. 597, op. 1 conjugation. 53, 343 ff. 7. Daro, f. 597, op. 1 conjugation. 54, 332 ff. 8. Daro, f. 597, op. 1 conjugation. 118, 80 ff. 9. Daro, f. 597, op. 1 conjugation. 154, 132 ff. 10. Daro, f. 597, op. 1 conjugation. 177, 70 ff. 11. Daro, f. 597, op. 1 conjugation. 207, 78 ff. 12. Daro, f. 597, op. 1 conjugation. 227, 55 ff. 13. Daro, f. 597, op. 1 conjugation. 270, 114 ff. 14. Daro, f. 597, op. 1 conjugation. 506, 17 ff. 15. Daro, f. 597, op. 1 conjugation. 674, 46 ff. 16. Daro, f. 597, op. 1 conjugation. 685, 116 ff. 17. Daro, f. 597, op. 1 conjugation. 704, 35 ff.

Summary Analyzes the processes of conception, development and popularisation of vocal and choral parts on Rivne region. Based on the material assets of the Rivne Regional State Archive (m. Rivne) generalized statistics on their activities. The analysis work of different vokalno- choral parts of the province. Keywords: choir, small forms of choral singing, vocal and choral link amateur choir team.

Summary Goroh G. Vokal and choral link as a phenomenon in the choral art in the ІІ half of ХХ century (on the example of the Rivne area) Analyzes the processes of conception, development and popularization of vocal and choral parts as part of amateur art of the second half of the twentieth century in the Rivne region. It was found that the matter concerned mainly representatives of method agencies or later, in modern terms – the teaching staff of the former institutions of culture, who knows the historical period and often was involved to some extent or to prepare an appropriate repertoire of such groups or participated in their assessment, acting as a jury member of various reports, surveys and contests. Emphasized that leaders often analyzed groups were themselves representatives of agricultural production. So these art groups largely served as increasing artistic culture, social activism Ukrainian village. The essence of these groups, the specificity of their organization in the production of the western village forms disclosed repertoire selection; The features concerts that took place directly in field conditions. Much attention is given to forms of preparation of the participants, drawn attention to the role of festival movement, organized at the regional level in the spread of this form of self-actualization rural population. Based on the material assets of the Rivne Regional State Archive (m. Rivne) generalized statistics on their activities. Done sufficiently detailed analysis of the work of different vocal and choral parts of the province. Emphasized the role of amateur composers who knew the possibility of performing the participants themselves often participated in concert performances of such groups. A lot of attention is paid to the analysis of the repertoire of these groups, which had its own specificity that was that was essential in carrying patriotic, industrial themes; songs about the homeland, Ukrainian village; often the participants themselves created the song on their link. And although artistically these songs were imperfect, but they were imbued with sincerity, faith in a better future. Performed such groups and repertoire, specially prepared by professional composers for amateur performances (P. Mayboroda, Revutsky). in the repertoire of many such groups were songs and other Soviet republics, whose purpose – an international education participants and spectators. The author focuses on the selection form teams to participate in competitions and festivals, as well as regional surveys; detects the optimal bonuses in art collectives. Based on local archives, examines in detail forms awards winning teams. Drawing materials statistics proved that in the early 80’s the popularity of such forms of participation in amateur something falls, focuses on enhanced classroom that could hold only artistic groups that have special conditions for activities accompanist, facilities and so on. So clotting participation in such groups are a feature of the next period of development of the region and the state as a whole. However, at a certain stage of national history these teams performed their important function of attracting people to the artistic culture, learning the basics of art. These groups have formed and most actively functioning in the northern regions of Rivne region that is least had the opportunity to organize a full- fledged cultural services local people. Attention is paid also highlight the role of regional methodological centers at various levels, involved in organizational activities such amateur groups. The paper is widely used archival material, which makes the following conclusions convincing author. Key words: choir, small forms of choral singing, vocal and choral link, amateur choirs, amateur staff, teaching services, social activity, patriotic repertoire, amateur composers, creativity, northern parts of the region.

Abstract Peas .S. Vocal and horovoe Zveniv How phenomenon of choral art in the second half. Twentieth century (in Example Rovenschyni) Formation Analyzyruyutsya processes, development and populyaryzatsyy vocal-horovыh zvenev in Rovno region. Based on materials stock Rovenskoho archive of state-owned oblastnoho (g Rovno) obobschenы statystycheskye Data kasatelno s activities. Osuschestvlen analysis Creativity otdelnыh vocal-horovыh zvenev Rovenschyni. Keywords: choir, choral singing malыe forms, vocal-horovoe Zveniv, samodeyatelnыy horovoy team. Received 11/12/2014

UDC 78.072.3 T.P. Fisher

CONCERT LIFE OF THE CITY DURING THE NAZI OCCUPATION IN THE LIGHT PRESS

Formulation of the problem. There is a stereotype of secondary importance in the artistic life of war period, and as a result - it neyaskravist without saturation, low professional and artistic level. However, analysis of musical publications on the pages of the newspaper »L’news» proves injustice such statements and to reproduce historically fair picture of concert life. Analysis of recent research and publications. Based on the papers there are several different editions research on certain aspects of the artistic life of Galicia’s 1941-1943 commemorative honoring .: dates (eg, anniversary Lysenko), the activities of certain groups, selected journalism authors opera performances. However, it is important to organize these materials and thus form idea of the overall condition of concert life, so any review of the opera is not taken into account in this study. The wording of objective article. The aim of the research is the reconstruction of concert life of the city 1941-1943., Identifying the individual events for contemporary society; an attempt to match them of new historical and ideological conditions of track features Music criticism. Presenting main material. Studying cultural processes in difficult historical periods can be find answers to difficult questions and refute many myths. One such periods for Lviv - the cultural capital of Galicia, were 1941-1943. - The German occupation. Prior to the war in Lviv was well organized and highly professional musical life. In the eyes German Lviv became a «zone of cultural activities.» Thus the military occupiers provided leisure and cultural management at the same time were able to manipulate the population, imposing their own culture. Therefore, although the new leadership and controlled, but not destroyed system cultural life, even gave some advantages creative initiatives of the Ukrainian community. Almost all music institutions founded before 1939, continued their activity: Ukrainian Central Committee (headed. - V. Kubiiovych), »Ukrainian artistic club» (M. Holubec), »Union of Composers Ukraine »(p Lyudkevych), Opera and Ballet, Lviv Drama Theatre, small forms »Happy Lions»; Radio Committee and the newspaper »L’news» (O. Bodnarovych). For print media came hard times, as the new government led reform reduction of congestion and publishing music criticism - after restructuring under the watchful eye German censorship functioned in Lviv two editions: daily newspaper »L’news» and »Gażeta Lwowska ». The new ideology adjusted style criticism: to replace a competent, sharp and sensitive thoughts came descriptive, positive feedback. As a result, some authors to stop (S. Lyudkevych), others are beginning to speak much drier and restrained (V. Vytvytsky) or writing materials exclusively educational nature (V. Barvinsky). However, neither sharp reduction editions or rigid censorship and the official ban criticism had no significant effect on the quantitative and qualitative indicators music publications. Music critic of that time - not only competent, but and demanding that allowed it and inform about the events and impact on public thought. For music news identified two headings: «What brings day» and »From the concert hall.» Below detailed review editors devoted a page, depending on the urgency and scale of the event. Genre range of publications and thematic blocks strengthened in 20-30 years. XX century .: informatyvno- advertising, professional-analytical, problem-theoretical, devoted to musical style, performance, folklore, history, interviews with the performers. Among the authors of dopysuvaly specified time - Vytvytsky V., V. Barvinsky, S. and R. Lys’ko Slivka, B. Alexander, J. Kopacz. As for the musical life, one of the most active factors were Lviv radio. Newspapers learn about the established system of transfers to local music radio waves, which remains till the end of 1941 was broadcast daily five to six concerts. For example, a radio announcement on Sunday 20 July, 1941 stated: »9: 30-10: 00 - Church music concert; 11:15 -12: 00 - chamber music; 12: 20-12: 50 - concert soloists S. and V. Tysyaka Gavryshchuk; 17: 30-18: 00 - concert of works Stetsenka and Leontovich performed L’chorus radio; 19-15 -19: 30 - concert of works by composer Sibeliyusa; 22: 00-23: 00 - ballet music »[21]. Subsequently, the number of music programs and regularity esters significantly reduced. At the beginning of 1942 for music transfers entrenched stable time: 10: 30-11: 00. Critics of for unknown reasons, had written about radiokontserty, so judge the artistic level of these transfers can review the performances of singers on stage opera, concert stage. The artistic level of these Transmission was high because of the Lviv Radio cooperated best creative teams and performers: M. Kolessa Symphony Orchestra; Orchestra »for fun» L. Turkevicha; mixed choir, vocal octet and quartet E. Kozak; A. Hen vocal ensemble; singers soloists I. Patorzhynsky, I. Turkevych-Martyntseva, A. Petrusenko, Z. Gaidai, D. Joha Reynarovych L., M. A., L. Germans, L. Black, M. Sabat-Svirsky, Gavryshchuk S., A. Bandriwsky, J. Kurylowicz-Chapelsky; pianists R. Simovic, G. Levitsky, V. Barvinsky, Lysenko, violinists Kryshtalsky R., L. Derkach, D. Oistrakh, R. Sahor, V. Tsisyk, J. Muscovites, M. Lepky; Q. Shtokalko bandura, V. Sinhalevych, V. Yurkevich; Pshenychka cellists M., B. Zadorozhnii, A. Berezovsky and others. The repertoire of the great musical collective impressive: large enough reservoir of foreign and Ukrainian music (excerpts from the operas of Wagner, B. Smetana, F. Lehar and Johann Strauss, music Bach, Brahms, Mozart, Haydn, Ludwig van Betovena, Berlioz, Schubert, Liszt, E. Grieg, Stetsenko, M. Leontovich, Mykola Lysenko, N. Nyzhankivskyi, E. Kozak, Barvinskyi, S.Lyudkevych, P. Nischynskoho, Bortniansky). Another important area - symphonic and chamber concerts. The city acted in two groups: Opera House Orchestra under the direction of L. Turkevicha and orchestra under the direction of M. Kolessa. The high performance level indicates the last review W. Vytvytsky concert July 6, 1941 g .: »How … just two days to live unusually organizational prepare, on the first test young orhestra made of his first concert. [...] The program was an overture to the »Eґmonta» and the first part Betovena Third Symphony and the overture to the opera »The Barber of Seville» by Rossini. The first concert novozlozhenoyi orhestry council under conductor Nicholas took full Kolessa success »[3]. Reviewers describe only most anticipated premieres, including execution L. Betovena IX Symphony, which opened the symphonic season in 1942, the concert was repeated three times, which writes V. Barvinsky »Made in Lviv Betovena IX symphony, overture Leonore III of featuring soloists Pospiyevoyi E., L. Black, S. and B. Tysyaka Dolnytska, opera chorus connected choirs and folk art institute backed by symphony orchestra [...], preparatory work manuf not only in opera LA Turkevicha under the steering wheel, but also at helm choirs INT cond. Sapruna, and then it all passed into the hands of Fritz Vaydliha - beautiful demanding music. F. Vaydlih force of his personality was able to squeeze so much »music of the blood» of all artists. Specifically same orhestra achieved under his leadership the extraordinary level of sonic nuances saturation and rhythmic flexibility vyrazovoho wealth and depth. Overture Leonore III also was performed exemplary »[1]. The important role performed concert marginal Bureau, which organized concerts at 2-3 week. In just two years nearly 700 concerts held throughout Galicia. The program is similar Evenings consisted of chamber instrumental or vocal chamber works by foreign and Ukrainian composers. On stage were the Institute of Folk Art Artists Lviv Radio, Opéra. At the invitation of the Bureau holiday concert concerts Ukrainian stars European scenes: tenor Alexander Rusnak (Munich), baritone S. Dolnytskyi, cellist H. Kolessa (Prague), soprano I. Ivanytska-a blue (Berlin), which describes the impression of B. Kudryk. More attention is paid to information on music than their interpretation, performance H. Kolessa described tersely: «This is a triumph of .. (the implementation of the concert B flat major L. Boccherini) »[7] and» The share of female grace truly makes it real interpretatorkoyu this kind of music (concert Boccherini L.) ». Thanks to B. Review Kudryk etched in the history of concerts the singer Alexander Rusnak, who came on tour to the city in July 1942 to review farewell concert features the lack of any critical comments, any statement about the quality of execution except: »..dav Artist medalionom aria from the »Charodiyskoho flyetu» Mozart understood in exactly famous performance as other arias old classics ». [12] The famous characteristics of singer delivers GL (Gal Levytska): »... and the voice! Twenty years had passed since the time when we heard it for the first time in Vienna. Even then horoscopes were better. And then in Lviv (probably in 1933) - it was already opera Glory! Today culture is this voice - one joy ... Incomparable confident in attacking, softness in shimmering, logic, phrases, lack any chance, intelligent musical line, and before all wrought in stone like the word »[4]. Instead rechytal S. Dolnytska Opera on stage, received critical assessment deployed in response. Kudryk speaks positively about the program and about most critics - have an example of the transition to a more cautious note strong criticism, however expresses it in a very soft manner: »In our tone of voice actor that is not true Wagner - but the full respect as required style. » »Great Lysenko uterpiv style performed by artists through the nerve, pidihrani pace that sometimes even vyklykuvaly rhythmic breaks with akompaniyamentom »[11]. Much attention is paid to large-scale projects concert Provincial Bureau - Centenary celebrations Lysenko, who were preparing to 5 years (ie, long before the arrival Soviet and Nazi!). To do this, created a special jubilee committee headed Barvinskyi. Concerts take place had over 1942 was the final apotheosis and regional competition choirs. This important event was covered by several publications, events monitored daily. To participate in the competition of folk choirs volunteered nearly 1,000 groups, indicating strong amateur choral movement. After completing the competition gave almanac with photos of all choirs. At the end of the competition Lviv- Festival hosted a concert of choral songs in the Opera Hall, culminating common 32 performance teams-winners. Tickets sold out the day before the holiday, so the organizers repeated it in Stryi park. Also in 1942 the waves sounded more radio music Lysenko. To celebration of music school students also joined BMI in them. Lysenko: July 21, in the hall of the Institute (st. Shashkevycha 5) an evening of vocal and piano music performed by composer G. Levitsky and A. Bandrivs’ka. A significant number of measures specified period associated with personality honoring least sign for Ukrainian public - Shevchenko. We can play a full script events. In the 1942 program honoring seemed modest: only number 180 from 14.03. contained short note »Shevchenko evening in the mouth» signed »from» (Ostap Tarnavskyi). With message known program in the evening, at the end of which sounded cantata D. Sichinskiy »in Lichu slavery ». The author does not give any assessment of the implementation of the work, except concise interpretation of the phrase cantata: »This last song made a big impression» [14]. Is richer panorama in 1943 in advance, another 27 February on the front pages of newspapers articles appear in the Shevchenko educational nature theme (»Before Shevchenko Anniversary »). More active appends Shevchenko in March. Since March 10, we find every day the announcement of the course of events. Author kryptonimom under »K» (B.Kudryk) takes a brief review of the concert held 14.03: »In performing well and skillfully matched program involved kids the local public school and a mixed choir under the conductorship of Mr Omelian Senyuk, manager and Camp UCC administrator. The festival began vidspivannyam »Testament», who performed mixed choir [...] Next intertwined alternately performances of the choir, recitation recitative and young people and school kids. Mixed choir managed by Mr. A. Senyuk performed with a noticeable sense of three songs to words Shevchenko»Oh of the mountain stone», «Covered thee, Ukraine» and »Cherry Orchard» [15]. In the programs under 24 and 27.03. there are reports of lesions in kindergartens Shevchenko. The greatest value are the reviews Barvinskyi »Shevchenko holiday in. Shevchenko - Lyudkevych «Caucasus» (execution took place in the hall of the Opera when filled overflowing hall 14-15 March), and Article V.Vytvytskoho »Caucasus Liudkevych» with a detailed analysis cantata-symphony. The highlight of the celebrations was the 1944 - 130 anniversary of the birth of Shevchenko. Based on literary and artistic club organized a conference «bow Shevchenko» and cycle reports Ukrainian Union of Writers Waves radio broadcast transmission» Power Shevchenko words» (with the participation of Blavatska, Reynarovycha L., H. Savitsky). Professional Students Association of Ukraine. A. Kotska satisfied 19.03 Evening respect. at the theater of opera and ballet, as we know from the announcement in № 780. Several these rooms publication contains several publications, including reviews by the literary evening Art Club 17 March. This author writes under kryptonimom L., which in short information message indicates a full concert program, without any musical characteristics works or performance. The event itself - a unique artistic phenomenon: the attempt to recreate a similar academy in Petersburg, which performed music paraphrases favorite poet. Sounded Overture from the opera »William Tell» march of Liszt symphonic fantasy «Mazepa» Prayer from the opera »Maria di Regan »Donizetti and a number of folk songs that he loved Shevchenko. As the artist made »Dr. B. Kudryk» which worked out numbered works finish and made brief comments to each program number. The real achievement was the setting Opera Arkas »Catherine» in Stanislaviv theater. This premiere - repeated after nearly 30 summer oblivion (the first time it put the corpse of Kropivnitskogo in Nikolaev, 1900). Integral Page concert life of the city - concerts of classical music on stage German theater (acting as one in four Lviv Opera). The only writer who collaborated with the German concert, was B. Kudryk by which remained creative Portrait conductor F. Vaydliha. The example of this review can be traced to the influence of ideological pressure on artists, as Reviewer conductor utilizes the advantages of personal style Vaydliha, to show German culture in the best light, »Let’s add one more feature - moderation in tempo and dynamics, absence of any so-called brilliant effects, so they gladly took the audience different Sovetsk conductors »[8]. Such statements can be seen in almost every review on concerts, program were works by German composers. An example was a concert in 1941, which represented the three areas of German professional music: piano, chamber and vocal chamber, the works of Schubert. First, heard Intermezzo, opus 118 La Rhapsody and major, opus 79 in F minor for piano performed by M. Rogowski. A pianist with extensive experience accompanist, B. Kudryk carefully reviewed the performance of pianists, soloists and accompanists and great experience in chamber ensembles allow him more professional assess ensemble. The most interesting part of the program was the vocal, which featured works Schubert, Schumann, Brahms, G. Walter, R. Strauss. Any of these songs would premiere if it is fulfilled, and in 20-40 years of the twentieth century. It was the usual repertoire for Galician public. Since this review is a known fact that the founding of L’string quartet composed Lepky M., I. Kuznetsov, M. Lobashevskyy, E. Shmoff. Interesting pages of city life was the work of the Children’s Music School, whose concerts have always been contributors in the field of interest, as most reviewers have worked in BMI them. Lysenko, in which said acting school. Usually the reviewers (S. Lyudkevych, V. Barvinsky, B. Kudryk) give a careful assessment indulgent and sympathetic interpreters of works, including performing opportunities for young musicians, students of the school. The value of these reviews is that they give understanding of the performing style of famous artists further their careers early: S. Sapruna, Baransky V., N. Shevchenko, Leonid Derkach. Conclusions. Thus, the publication in the newspaper »L’news» indicating the presence versatile concert life of the city during the German occupation. Artists of Lviv, acting difficult conditions of everyday military and ideological pressure from the authorities, were able to maintain enough high professional level of artistic life. There is a rise of Ukrainian culture, because even during the German occupation in Galicia preserved the tradition of celebrating Shevchenko Day, anniversaries Lysenko, who noted the wealth of programs, forms of, which were Musicians involved professionals and numerous amateur choirs, Ukrainian pupils and students. Each of these events certainly had resonance in the small amplitude periodical publications, a professional announcements, notes, reviews, reviews, detailed articles.

References 1. Barvinsky V. IX symphony. Symphony concert Betovenskyh works / V. // Barvinsky L’missing. - 1942. - № 302. - 9-10 Aug. 2. Vytvytsky B. concert on stage Literary Club of artistic / V. // Vytvytsky L’missing. - 1942. - № 356. - Oct 13. 3. Vytvytsky B. The first concert of symphonic Lviv orhestry / V. // Vytvytsky L’missing. - 1941 - 8 July. 4. GL Orest Rusnak // in Lviv Lviv missing. - 1942. - № 271. - July 4. (58). 5. GL Orest Rusnak // in Lviv Lviv missing. - 1942. - № 271. - July 4. 6. For Soviet Ukraine. - 1941 - 31 July. 7. Kudryk B. Second Symphony concert featuring Christ Kolessa / B // L’Kudryk news. - 1943. - № 467. - 4 March. 8. Kudryk B. Second Symphony concert Fr. Vaydliha / B. Kudryk // L’missing. - 1942 - № 371. - 30 October. 9. Kudryk B. »The Gypsy Baron» in the Galician scene »/ B. Kudryk // L’missing. - 1941. - № 62. - Oct 19. 10. B. Kudryk young talents Evening / B. Kudryk // L’missing. - 1942. - № 255. - 16 June. 11. B. Kudryk Concert Zeno Dolnytska / B. Kudryk // L’missing. - 1941. - № 107. - December 7. 12. B. Kudryk farewell concert Orest Rusnak / B. Kudryk // L’missing. - 1942. - № 254. - June 15. 13. Lviv Philharmonic before and after century. - L., 2006. - 74 p. 14. L’missing. - 1942 - № 56/180. 15. L’missing. - 1943 - № 55/475. 16. L’missing. - 1944 - № 67/786. 17. Mazepa L. path to Music Academy in Lviv, in 2 vols. - Vol.1: From day to local musicians Conservatory (beginning. XV century. - 1939.) / L. Mazepa, T. Mazepa. - L., spol, 2003. - 287 c. 18. Mazepa L. path to Music Academy in Lviv, in 2 vols. - Vol.2: Conservatory of the Academy (1939-2003) / L. Mazepa, T. Mazepa. - L., spol, 2003. - 199 c. 19. L. Miller Music Journalism: Theory, History, strategy. The examples of daily press City from beginnings to the present. Monograph / L. Miller. - LA: ZUKTS, 2013. - 383 p. 20. Alexander Palamarchuk A muse is not silent / O. Palamarchuk. - LA: Grains, 1996. - 96 p. 21. What day brings news // Lviv. - 1942. - № 372. - Oct 31. (90).

Summary An attempt to organize musical and critical material in the newspaper »Lviv news »- approved by German authorities dailies, which existed for 1941 1943 and reconstruct the concert life of the city given period. Tags: concert life in Western Ukraine during the German occupation, Lviv Radio, Lysenko anniversary in 1942, celebrating Shevchenko 1941-1943 biennium., a music critic.

Summary Fisher T. Сoncert life in lviv during the nazi occupation in the press light An attempt to organize musical and critical material in the newspaper »L’missing» – approved by German authorities dailies that existed during 1941-1943. And reconstruct the concert life of the city given period and thus dispel stereotypes about the secondary importance of artistic life in the war period, and as a result – it neyaskravist without saturation, low professional and artistic level. During the war Lviv became a »zone of cultural activities». Thus occupiers provide military leadership leisure and at the same time were able to manipulate the public consciousness, imposing their own culture. Therefore, the new leadership although controlled, but not destroyed cultural life of the system, even gave some advantages creative initiatives Ukrainian community. Almost all music institutions founded before 1939, continued their activity: Ukrainian Central Committee (headed. – V. Kubiiovych), »Ukrainian artistic club» (M. Holubec), »Union of Composers of Ukraine» (p Lyudkevych) Theatre Opera and Ballet, Lviv Drama Theatre, small forms »Funny Lions»; Radio Committee and the newspaper »L’news» (O. Bodnarovych). For print media came hard times, because the new government reform caused the decline in publishing and stagnation music criticism – after restructuring under the watchful eye of German censorship functioned in Lviv two editions: daily newspaper »L’missing» and »Gażeta Lwowska». The new ideology adjusted the style of criticism: to replace a competent, sharp and painful thoughts came descriptive, positive feedback. As a result, some authors to stop (S. Lyudkevych), others are beginning to speak much drier and restrained (V. Vytvytsky) or written materials exclusively educational nature (V. Barvinsky). However, neither the sharp decline in publications or rigid censorship and the official ban criticism had no significant effect on the quantitative and qualitative indicators music publications. Music critic of that time – not only competent, but also demanding that allowed it and inform about the events and impact on public opinion. For music news identified two headings: »What brings day» and »From the concert hall». When deployed review editors devoted a page, depending on the urgency and scale of the event. An important role in the cultural life of the city has played a radio, which broadcast the most notable musical event. The city acted in two groups: the Opera Orchestra under the direction of L. Turkevicha and orchestra under the direction of M. Kolessa. The important role performed concert marginal Bureau, which organized concerts in 2-3 week. In just two years nearly 700 concerts held throughout Galicia. The program consisted of such evenings of chamber and instrumental or vocal chamber works by Ukrainian and foreign composers. On stage were the Institute of Folk Art Artists Lviv Radio Opera House. At the invitation of the concert bureau visited with concerts Ukrainian stars of the European scene: tenor Alexander Rusnak (Munich), baritone S. Dolnytskyi, cellist H. Kolessa (Prague), soprano I. Ivanytska-a blue (Berlin), which describes the impression of B. Kudryk. Much attention is paid to large-scale projects concert Provincial Bureau – Centenary celebrations Lysenko. The concerts were to take place during 1942 to take part in the competition of folk choirs volunteered nearly 1,000 groups, indicating a strong amateur choral movement. Became increasingly important and celebration of the 130th anniversary of Taras Shevchenko. On the basis of literary and artistic club organized a conference »bow Shevchenko» and a series of reports on the Union of Ukrainian Writers radio waves broadcast transmission »Power Shevchenko words» (with the participation of Blavatska, L. Reynarovycha, H. Savitsky). An integral Page concert life of the city – classical music concerts on the stage of the German theater (acting as one in four Lviv Opera). Interesting pages urban life was the work of Children’s music school concerts which have always been contributors in the field of interest, as most reviewers have worked at the Higher Music Institute. Lysenko, in which said acting school. All this was covered actively in the newspaper »L’missing». Artists of Lviv, acting in the challenging conditions of everyday military and ideological pressure from the authorities, were able to maintain a high enough level of professional artistic life. Key words: concert life in Western Ukraine during the German occupation, Lviv Radio, Lysenko anniversary in 1942, celebrating Shevchenko 1941-1943 biennium., Music critic, Periodicals reconstruction.

Abstract Fisher T.P. Kontsertnaya city life t TIME natsystskoy okupatsyy in Sveti Presses Predprynyata attempt systematyzyrovat music-krytycheskye materials on page newspapers »Lvovskye conduct» - officially razreshennoho German authorities ezhednevnoho editions, protyazhenyy existed for 1941-1943 biennium., and rekonstruyrovat kontsertnuyu city life vыsheupomyanutoho period. Keywords: kontsertnaya life of Western Ukraine in the period nemetskoy okkupatsyy, Lvovskoe radio, yubyley M. Lysenko 1942, Shevchenkovskye prazdnovanyya 1941-1943., muzыkalnaya criticism. Received 11/17/2014

UDC 792.2 (477) L.L. Protsyk

UKRAINIAN REALISTIC DRAMA ON THE THEATER STAGE UKRAINIAN THEATRE. FRANKO

In the last quarter of the nineteenth century. appears realistic social and psychological drama that had significant impact on the theater as the beginning and the twentieth century. The acquisition of the »new drama» was impossible without active interpretation of copyright Concept that has set the turn of the century theater quality new tasks contained in order to create the illusion as reality, draw it viewer and make him empathize with the protagonists until full identification with them. Theatrical life in Ukraine 1920 took place under the banner creative relationships and searches overcoming gradations between extremes: romanticism and realism, drama and comedy, expressionism and formalism. Therefore, the psychological drama genre accidental gained widespread in Ukrainian Theatre in this historic piece of time and creative focus is exactly this genre. Ukrainian theater reached the pinnacle of realism in art direction, accompanying all career Ukrainian Drama Theater. Franko. In the realistic theater life forms actually coincide with form of stage action. Unfortunately, domestic science still has not paid enough attention to this problem. History formation and development of the creative team of Ukrainian Drama Theater. Franko, except rare works in the context of general trends in the evolution of Ukrainian theater (works of L. Bielecki, Borschahovskoho A., I. Vanina V. Vasylko, R. Esipenko, A. Zaharzhevskogo, R. Kolomiets, A. Krasilnikov, Stanishevsky Yu et al.), Has not become the subject of special historical of art and cultural analysis. Works that reveal some extent this phenomenon in Ukrainian culture, are mainly memories of actors on the activities of the theater (A. Buchma, T. Demchuk, Mr. Kovalenko, Yu Kosach, I. Maryanenko, G. Jura, etc.). Anniversaries or collections to theater, which, of course, are crucial for the disclosure had not yet studied problems of Ukrainian culture, but they are subjective and lack the same historical and social understanding of the problem. Therefore, cultural activities Ukrainian Theater. Franko, his contribution to the formation of a national mentality still insufficiently meaningful spiritual phenomenon. There is a need objective scientific consideration and analysis. This aim and purpose of the presented article. In 1920-ies. XX century. Ukraine cformuvavsya professional theater as an aesthetic phenomenon and component Ukrainian national culture. While crystallized centuries achievements Ukrainian theatrical culture, and the theater, through the creative works of local theater actors, acquires meaningful social values. Since the mid 1920s in the Ukrainian stage art operated two systems: one of them gravitated to the theater forms of direct life matches (G. Jura), second - so reprezntkapla called »left» art on the stage and have sustained conventional theatrical forms (Les Kurbas). «New Drama Theatre of Ivan Franko» was organized in January 1920 His A. Buchma founder, M. Krushelnytskyi, A. Vatulya, A. Jura-Jura, OS and other prominent Rubchakivna actors; GM was led by George. It should be noted that the first half of 1920 - is the organization new and reorganizing old theaters that usually declared its appearance the desire to put such performances that would be fully reflected the interests and aspirations of the working masses. [1] Even as the Theatre. Franko organized at the Young and Novolvivskoho theaters began forming their repertoire of posters that play put Maxim. Gorky’s »The days », as stated in the ad,» by staging Theater, »which had the desire to witness directors vital to the credibility and psychology [5; 22]. The choice of that play of Maxim Gorky testified that the young team was looking for works from deep social and psychological content. The performance was outstanding creative achievement newly theater, it was the newspapers of the time. Important role in the formation of a new drama theater played an appeal to the playwrights Karpenko-Kary. Subtly and Field understanding his work, George G. productions in the implementation of »Vanity» and »worldly sea» made emphasis on the disclosure of social conflicts. Since 1922 the main initiator of experimental research in Ukrainian theater was Art Association »Berezil» (MOB), headed by Les Kurbas. It was a extensive network of artists’ workshops «and» stations» where sprang a wide range of art ideas and different aesthetic orientations. Realistic platform was of great importance for the development of the theater, for the determination of the leading position to which he went into the theater Ukraine. And ideological and artistic quest and external circumstances (change location) made theater. Franko and »Berezil» irreconcilable antipodes. If Theatre. Franko soon turned into a real Ukrainian school realistic drama, the group »Berezil» reperturno vidhorodyvsya not only on the best works world recognized Russian drama, but first plays of Ukrainian Soviet theaters. Modernist avant-garde, creative search led to the creation Kurbas Theatre «Symbolic forms» a kind of theater- studio, whose purpose was to approval of new artistic ideologies. Theater. Franko chose the path of «repertory theater», proclaiming himself direct heir realistic traditions of Ukrainian theater luminaries. Augmenting their traditions and still is the key artistic achievements collective theater. Franko. Moreover, it is their realistic program was able to reveal the intrinsic phenomena Ukrainian theater revival. But since the new Ukrainian national drama as such did not exist, the then theaters offering the viewer mostly classical repertoire is still restricted through censorship harassment of Western European drama, Russian and Ukrainian classical paying sighting scenically attention still unrealized works. For this phase of the process of Ukrainian theater characterized by thought-selectivity in the selection of classical repertoire and professing principles most free interpretation of stage classics. In those years the theater has made a lot of interesting and artistically brilliant performances of classics that have won wide recognition. Among them, »Boris Godunov» Pushkin, »Last» Gorky, »The Last victim »Ostrovsky,» Inspector »Gogol» Stolen Happiness »by I. Franko,» Much Ado About wasted »by William Shakespeare. Yet the work of a modern, socially topical subjects needed expansion Ukrainian national range of realistic drama. The repertoire prevailed classic, restored old Ukrainian ethnographic performances repertoire, much less space was given to modern life, Social conflicts today, despite the strong labor Having established in the early years of Soviet power, the collective theater. Ivan Franko relatively short time managed to build diverse topics and genres stage repertoire. Very popular staging »Vanity», «worldly sea» Karpenko Kary, »Hope» G. Heyyermansa, »bell Flooded» G. Hauptmann, »At the bottom» Gorky,» «Marriage of Figaro» by Beaumarchais, staging Shevchenko’s poems. In meetings with the new viewer increased public awareness Franko, hlybshalo truly understanding people’s spiritual needs audience. Staging the works of classical drama, carried out at the theater named. Franko, open before the young team to the path of realistic art truth of life. Realistic classical dramaturgy helped to understand the deeper ideological malignancy psevdorevolyutsiynyh plays, aesthetic tastes brought artists and not only directing but also mass audience, stepped production of high principles acting. His artistic activities Theater. Franko started plays Karpenko-Kary (Tobilevich). Latest first time in the history of Ukrainian drama went out pattern - ethnographic drama of the central theme of love and started foundations serious comedy, important and in the public and in the artistic aspect of the image of the present, not sweetened life transformed loud and deep talent [4; 477]. Buying over time stage experience, theater defends the commitment method of realism and organic connection with the mass audience. It was staged plays and modern Ukrainian Russian works of »dictatorship» and »Frames» I. Mikitenko, «death squadron» and »Plato Krechet» O. Korniychuk, »the unknown soldier» L. Pervomaisky, »Master of Time» poker I. »coward» A. Crone. Continued popularity enjoyed staging mass audience Savchenko Y. J. Hasek’s novel «The Good Soldier Svejk». In the play »Polum’yari» Lunacharsky »Vii» by Gogol and M. Kropyvnytsky in processing A. Cherry, »Chasing Two Hares» M. Staritskogo staged V. Vasylko and in many other works of Ukrainian and world classics dramatic skillfully appealed to Franko convention facilities, the comedy is - turned to the grotesque in the overall framework of a realistic manner play. In his creative evolution Theater. Franko increasingly turned to the realistic theater art. H. Urey (as actor and director) most impressed social realist genre drama. At the beginning of his artistic biography he willingly turned to classic works of world drama, but focusing mainly on the tradition of theater luminaries and psychologically community Russian theater. Although actually denied scenic constructivism, actively promoted V. Meyerhold and Les Kurbas G. George eksperymentalnosti not avoided by applying techniques theatrical expressionism, epic and political theater, thus showing multifaceted acting and directing talent. A landmark for the community theater was staging the play »Stone Island» O. Korniychuk. In her involved O. Vatulya top performers (Art), V. Varetska (Hope), T. George (Costa Kostevich) K. Koshevskyy (Cherry), A. Rubchakivna (Elena), MM Pylypenko (Diodorus) and others. Staged H. George in creative collaboration with composer and artist N. Pruslinym M. Draco Although the track performance was somewhat burdened by elements of conditionality and constructivism in art design, schematics and plakatnosti implementation of individual images as fashion plays in it, certainly dominated the realistic origin. The play »Stone Island staged Franko enjoyed a deserved success with the audience, especially in younger audiences. Along with popular plays of the national repertoire (»Martin Borulya», »Vanity» »Worldly sea,» etc.) to the repertoire actively involved little-known works by Ukrainian playwrights who have had virtually no stage history: slapstick »Courting King Latina» L. Starytska-Cherniakhivska, dramatic sketch »must» Cherkasenko S. et al. Thus, a focus on creativity gave positive results: the creation of realistic a new type of theater built on the dominant truth of life. Performing activities Franko were heroic pathos intrinsic sound contradictory desire to reveal the dynamics of human characters, analysis of the causes of social conflict, attempts to infiltrate the deeper philosophical meaning of the play. Historical and theoretical analysis of the formative period of Ukrainian Drama Theater. Franko (20 years) from the present position to better understand the reality of contemporary cultural life Ukraine and provide opportunities to explore artistic and ideological orientations of the nation in the future

References 1. Beletskaya LK Ukrainian Soviet dramatycheskyy theater / LK Beletskaya. - K., HI. HQ., 1984. - 223 p. 2. Blackie MK Drama living characters / MK Blackie // Theatre and Drama: Coll. Art. - K.: Art, 1989. - P. 133-142. 3. Blackie MK Ukrainian theater and theater / MK Blackie // Theatre and Drama: Coll. Art. - K. Arts, 1989. - S. 5-132. 4. CO Yefremov History of Ukrainian literature / S. Efremov. - K.: Femina, 1995. - 688 pp. 5. Young Theatre: Genesis. Tasks. Ways / ed. YP Kosenko; compilation. MG Labinskiy. - K. Arts, 1991. - 320 p. 6. P. Rulin Ukrainian Drama Theater for fifteen years in October / AP Rulin // Life and revolution. - X., 1932. - № 11-12. - P. 97-101. 7. George GP Ukrainian Drama Theater: Essays on History: 2 t. / GP George M. Boboshko. - K., 1967. - T. 1. - 477 p.

Summary The process of development of Ukrainian theater 20-ies. XX century. Rank realistic drama on the theatrical stage Franko and features inherent in the stage of their activities. Keywords: theater, drama, realistic drama, stage, Franko, actor, realistic platform.

Summary Protsik L. Ukrainian realistic drama is on theatrical to the stage of the National theatre the name of And. Franco The process of development of Ukrainian theater 20-ies of XX century, the place of realistic drama on the theater stage Theater. Franko and features inherent in the stage of their activities. Analyze the sociocultural situation in which worked the theater, are the most characteristic features, visible in their theatrical practice; stressed the specifics of contemporary repertoire policy of Ukraine. Reveals the specifics of coverage of cultural and artistic life of the period under review in the light reminiscences leaders of Ukrainian scenes that give the most objective vision of contemporary cultural process. The use of modern scientific studies about the events of contemporary authors theatrical practices and cultural climate of the period allows most fully restore the state of development of Ukrainian art the most difficult period of its development. The article noted that the first half of the 1920-s – a time of new organization and restructuring of the old theaters that tend to their appearance declared desire to put such performances that have fully reflected the interests and aspirations of the working masses. It is emphasized that in 1920-ies XX century Ukraine cformuvavsya professional theater as an aesthetic phenomenon and part of Ukrainian national culture. While crystallized centuries achievements Ukrainian theatrical culture, and the theater, through the creative works of local theater actors, becomes meaningful social values. Since the mid 1920-s in the Ukrainian stage art functioned two systems: one of them gravitated to direct forms of theater life matches (H. George), the second – represented by so-called »left» art and have sustained on stage conventional forms of theatrical (Kurbas ). »New Drama Theatre of Ivan Franko» was organized in January 1920 Among its founders Buchma A., M. Krushelnytskyi, A. Vatulya, A. Jura-Jura, A. Rubchakivna and other prominent actors; was led by George H. We analyze the system of the rehearsal process, changes in the repertoire policy, highlighted the specific form of work with the audience. Since 1922 the main initiator of experimental research in Ukrainian theater was artistic association »Berezil» (MOB), headed by Les Kurbas. It was the extensive network of artists’ workshops »and» stations »where sprang a wide range of artistic ideas and different aesthetic orientations». Modernist avant-garde creative search led to the creation Kurbas theater »symbolic forms» a kind of theater- studio, whose purpose was to approval of new artistic ideology. Theater. Franko chose the path of »repertory theater», proclaimed himself the direct heir to the traditions of Ukrainian realistic theater luminaries. Augmenting their traditions and still is the key artistic achievements collective theater. Franko. Moreover, it is their realistic program was able to reveal the intrinsic phenomena Ukrainian theater revival. But since the new Ukrainian national drama as such has not been offered the then theater audience mostly classical repertoire, still limited by censorship oppression of Western European drama, Russian and Ukrainian classical, paying attention sighting scenically still unrealized works. For this stage of the Ukrainian theater thought process characterized by selectivity in the selection of classical repertoire and the most free confession principles of interpretation stage classics. In those years the theater has made a lot of interesting and artistically brilliant performances of classics that have won wide recognition. Among them, »Boris Godunov» Pushkin »Last» Gorky, »The Last Victim» by Alexander Ostrovsky, »Inspector» Gogol »Stolen Happiness» by I. Franko, »Much Ado About Nothing» by William Shakespeare. Along with popular plays of the national repertoire (»Martin Borulya», »Vanity», »worldly sea», etc.) to the repertoire actively involved little-known works of Ukrainian dramatists who has had virtually no stage history: slapstick »Courting King Latina» L. Starytska-Cherniakhivska, dramatic sketch »must» S. Cherkasenka and others. Thus, a focus on creativity gave positive results: the creation of a new type of realistic theater, built on the dominant truth of life. Performing of actors Theater. Franko become intrinsic heroic pathos sound contradictory desire to reveal the dynamics of human characters, analysis of the causes of social conflict and attempts to penetrate the deep philosophical meaning of the play. Key words: Theatre. Franko, drama, realistic drama, stage, actor, realistic platform, theatrical repertoire experiments with the new viewer, cultural and artistic life, political censorship, classical and modern drama.

Abstract Protsyk LL Ukrainskaia realystycheskaya drama in Ukrainian theater scene teatralnoy them. Frank I. Yssleduetsya process development Ukrainian theater 20-ies. XX century. Realystycheskoy place drama teatralnoy frankovtsev on the scene and chertы, prysuschye stsenycheskoy frankovtsev activities. Keywords: theater, drama, drama realystychnaya, scene, frankovtsы, actor, realystychnaya platform. Received 10/17/2014

UDK792 (477 / 62-2 = 14) »1932/1937» (045) O.A. Demidko

MARIUPOL STATE GREEK THEATRE IN CULTURAL SPACE NORTHERN AZOV (1932-1937 YEARS.)

The restoration cultural past Ukraine, particularly in the theater, actualizes the need for in-depth research culture of various regions as part of national cultural context. Cultural and artistic space North Azov has unique geopolitical conditions that promoted mutual penetration and fusion of cultures worldviews and different nationalities. Effect of Ukrainian and Russian national cultures Greek population affected the development of original national theater north Azov Greeks, who not only left its mark on the cultural history of Northern Azov, but also became a good example of the national policy of the Soviet government. At the same topic theaters national minorities is still less explored. The article is to study the formation and development of Mariupol State Greek theater in the cultural space of the Northern Azov since its foundation - in 1932 and the destruction – 1937 The first recover the history of Greek theater began to head cultural and educational Azov Greeks named association. F. Hartahaya, actor and theater director of National Palace of Culture plant »Azovstal» I. Nalchadzhy [9]. Thanks to his work were found important information concerning cast, repertoire. Later, the issue of formation and development Greek theater addressed: N. Batsak [1] K. Goncharuk [3], Zakharova [5], A. Petrov [10] A. Protsenko [12] L. Chupryk [15]. Greek theater activities account for 30 years as an important part of cultural processes in Ukraine indigenization policy was aimed at ethnic revival of national minorities. Measures of the Greek population conditionally called »Hellenization». It is this policy contributed to the development of North Azov true Greek art – theater. One of the objectives of cultural development would stabilize existing network state theaters of national minorities and to draw attention to those minorities, which until then had any art institution. So for 1931 in Mariupol there is a Greek idea mobile theater. Cultural and propaganda department of municipal party committee forms a special commission. Greek Publishing Bureau discusses repertoire for theater and villages drama circle [3; 76]. February 15, 1932 in Mariupol newspaper »Azov Proletarian» placed ads in which proposed to all »actors Cypriots» (rural amateur drama circle), musicians that played on national instruments (tlup, zurna, Dayr etc.) to apply the relevant documents to the office of the theater until 5 March. » The announcement stated that all theater workers will be financially secure [6; 2]. Working periodicals showed that the Greek theater was founded in the same 1932, however, among local residents was felt that the theater began operations earlier - in 1930 [11; 2]. This thesis statement contradicts one of the organizers of the theater - G. Dehlari that in his article stated that »In 1932 in Mariupol based Regional State Greek theater» [4; 4]. However, based according to F. Yali, editor of the Greek party newspaper »collectivist» and a year of the announcement of a set of actors, think it right to begin the count theater history since 1932. The initiator of Greek theater was G. chiropractor. At the root of Performing Arts Northern Azov Greeks were the two major producers - D. and J. Dranha Telenchi [2; 146]. While maintaining the national identity influenced by economic and socio-cultural factors occurred radical changes in lifestyle, the direction of activity, social class and the mentality of the Greek population of the Northern Azov. Therefore, the development was complex and Theatre sometimes painful way. Yes, the theater difficulties referred to in Articles F. Yali »On one forgotten theater» and »Which time continue bullying the national theater,» published in the newspaper »Azov proletarian» in 1933 Author of articles, energetic participant in the process of Hellenization on The newspaper wrote that 1932 was for the Greek theater »... year struggle for existence, year of unprecedented bullying by misknarosvity »[16; 4]. It appears that from the beginning »... The organization of theater left to fend for themselves.» For example, misknarosvita treated theater as the »fiction of some unnecessary» - under one pretext or another delayed granting subsidies or those money spent »... to cover the deficit of various» performers ». Therefore actors for months received salary, lived in severe financial and housing conditions. Due to lack of repertoire Greek team had to quickly translate Russian and Ukrainian plays. »All that pushed theater to hack, undermined the authority. » F. Yali urged NGOs to return face to the theater, to create all necessary conditions for its normal development [17; 2]. Yet the arrival of the chief director and director M. Horomanskoho theater M. Shaldyrvan staff got to his feet [12; 13]. Performances were preparing not only the director and artist, and above all, by actors. As the Greek plays were not at all, had to learn Ukrainian or Russian, Ukrainian or translate Greek and Russian pieces. However troupe almost consisted entirely of amateurs yesterday. Only three actors - Telenchi D., J. and G. Dehlari Dranha - participants were composed of experienced professionals [12; 11]. The composition of talents corpse was bright. List already established masters of the stage is small. This actress - Alexander Mahdalits, Dean Nun, Faith Bule, Mary Hashachih, Vera Kahn, Dombay Valentine, Valentine Nohash, Pelagea Mamuydar, Lydia Karnaukhova, Evdokia Uzun, Anna Arich, Faina Makmak, Pauline Balahchi. Male Warehouse - Sevda George, Theodore Loubet, Savely Yanhicher, Fedor Uzun, Nicholas Chicha, Fedor Gourzhiy, James Talah, Nicholas Danhudzhy Vladimir Satsy, Andrew Savica, Bohinj, Fedor Gurdjieff, Vasily Galla John Yali, Alexander Chebanov John Meresidi, Fedor bulge, Yuri Dranha, Fedor Kashker [12; 22] In season 1933-1934 gg. Led the Greek Theatre artistic director M. Horomanskyy. Talented director was an actor Yu Dranha. The head of the literary and next director - D. Telenchi [12; 22]. Greek theater was musical and dramatic. The theater always acted Orchestra [9]. The head of the musical part was O. Voloshko. The orchestra of the theater consisted of five persons. B. Satsy played Daul, oriental drum F. Kashker - the tambourine, F. Gurdjieff - the zurna, V. Nalchadzhy the accordion, I. Nalchadzhy - the violin. Through music, the play enjoyed great success, the music helped achieve emotional stage action [12; 24]. According to the Resolution NCB SSR »On the level of cultural work in the countryside» was required wider Communist educational work among the national minorities. Therefore, in December 1932 the theater travels Greek villages with »ideologically seasoned» play by Yuri Bolotov »green noise» [3; 77]. Not play able to fully meet the leadership of the theater, which was looking for new opportunities to strengthen creative composition and repertoire. Subsequently, »green noise» is removed from the repertoire; to statement come play »Squall» and »Tamil». With these plays theater gave 54 performances in the theater in Winter Mariupol and organized to twenty »cult attacks» directly in the field, to the mines [3; 78]. Not Despite a number of challenges (transportation, food), the Greek Theatre staged performances in the most remote regions (Veliko Yanisolskyy, Old-Kermenchikskyy, Nova Karakuba etc.). [16]. Theatre is widely used throughout the local material. Sometimes produced daily »Greek Theatre box», and on mine № 19-20 - posters and cartoons. Overall, theater performances visited by 12 thousand. audience. »Everywhere Greek theater performances were a great success - he wrote F. Yali. This success is dictated by the fact that the Greek working masses saw the first performances language. On this occasion organized 19 collective discussions and received more than 18 Written reviews »[16]. In season 1933-1934 biennium. Theatre has strengthened the credibility successful staging V. Shkvarkina »Alien child »(dir. M. Horomanskyy). The text of the play was translated in Greek actors Uzun F., G. Sevda, F. Loubet [12; 13]. By 1935 the theater played mainly Ukrainian and Russian. And from 1935 by decision Regional Management system theaters of Greek theater was changed. Strictly attributed the performance to give only Greek. G. Dehlari - newly appointed Artistic director and theater director - in his article »Creative ways of Greek theater» noted that »Solving these problems, we are faced with great difficulties - it is necessary to find a synthesis in language that would be understood in all 17 Greek villages Mariupolschyny. By studying local features theater still overcome difficulties in the work »[4]. While among the Greeks Azov There were two common languages - urumska and Romani, as director and screenwriter developed a kind language, Koine, play became clear to anyone. Writers translated into Greek Theatre classics, including Jean Moliere, Pushkin, Soviet playwrights. At the theater and put Sophocles. Subsequently there own play about the life of workers and peasants. Translation of the play Greek engaged G. chiropractor, V. Gallo, D. Telenchi [2; 147]. But still remained the weak point of the theater repertoire. On the stage set and Ukrainian Russian plays. Among them: »The Stone Guest», »Platon Krechet,» »Six favorite» »flurry». There are critical articles in the press. Theatre accused of that before 1936 were not delivered No new play [15; 17]. Theatre step by step trying to avoid mistakes. The problem remains the issue of building new theater space for the city. Until the reconstruction in the old (Winter) Greek Theatre performed on its stage. Only in November 1934 Mariupol City Council decided on a radical reconstruction of the old theater room. Was announced competition for the best design. Temporarily troupe was transferred to Club steelmakers. But with beginning repair work expanded touring activities theater. Thus, in 1936 artists 3 weeks held in the city. Stalin, put plays in the mines. Returning to the Mariupol served companies and organizations gave performances in the villages of Northern Azov [7; 178]. Summer theater went to a great concert tour of the Donbass, Crimea, Kyiv, Odessa, Nikolayev [15; 12]. Reconstruction of buildings lasted two years and 14 March 1936 opening ceremony reconstructed Municipal Theater. The facade of the two-storey building looked Winter Theatre pompous. On the second floor were marble staircase. At the entrance sculpture located composition. Theater building located in the center. Mariupol, on the main avenue. In 1943 theater building burned down [12; 31]. Sources indicate that 1936 was fruitful for Greek theater. Earlier this year, when it was organized by the studio - it invited the most talented members of art initiative. Improve their skills and cultural level actors and theater visit lectures on the history of the theater, Greek literary language, musical instrument, dance. Prepared premiere of the play »Six beloved» A. Arbuzov and »Plato Krechet» O. Korniychuk, translated into Greek. [14] Creative outcome of the theater in 1936 began a tour in Crimea, in the cities of Simferopol, Alushta, Balaklava, Kerch. In repertoire included plays »The Stone Guest» by A. Pushkin, »Dr. spontaneously »by J. Moliere. Highlight of the tour was the poster premiere of »Plato Krechet» O. Korniychuk. Press support these performances a number of articles whose authors, analyzing tour, especially high rated performance »Plato Krechet». Staging O. Korniychuk was one of the best G. Dehlari directorial work. The team was able to combine the topical theme of shaped it Greek implementation [12; 26]. Great success among the audience were actors Yanhicher S., M. Chicha, which was amazing expressive reading and Greek folk dances, F. Kashker struck Romanian folk dances, and L. Karnaukhova - solo singing. [14] Many actors had a brilliant musical instruments. Particular success was - L. Karnaukhova. She was the only Ukrainian in the Greek troupe. But thanks high professional qualities and vigor she became a prima Greek State Theatre, favorite public [5; 9]. From the works of foreign classical drama was the most successful play M. Horomanskoho plays of Sophocles’ Antigone. «Director’s decision correctly revealed the moral greatness of man. Role Antigone P. Mamuydar fulfilled. The actress was able to show the complex process of character development heroine [12; 25]. While touring theater in Donbass miners at the invitation of the Central Committee, theater three weeks spent in Stalin. Returning to the Mariupol launches cultural services of the city, giving concerts employees of the NKVD, Stakhanovets that are treated at spas, courses CEC SSR [14; 4]. In 1937 the theater received a letter from the writer of proletarian power plant from Greece, who impressed the fact that the Soviet Union is a national Greek theater, wrote: »... even in Greece, except as called royal, no state theaters - everywhere private entreprise »[3; 79]. On the active creative work of the Greek Theatre in 1937 suggests a number of measures: Winter service campaigns Greek villages of Donbas; celebrating the 5th anniversary of the founding of the theater (23 February 1937); traditional spring tour of Donetsk; Preparation for the Second Regional Olympiad Traveling theaters in Stalin; setting a small tragedy Pushkin’s »The Stone Guest» (translation D. Telenchi) to the centennial of the death of the great Russian poet (best for Press statement those years, staging) [9; 2]. It is believed season 1936-1937 biennium. For theater most productive. However, unfortunately it was the last. Part of the »great cleansing» carried out by the Soviet government in the late 30’s years, was so-called »Greek operation,» the purpose and objectives of which are set out in the directive Commissar Interior N. Yezhov to the number 50215 from December 11, 1937, which stated that the authorities NKVD uncovered and eliminated a wide network of Greek nationalist, espionage, sabotage organizations whose ultimate goal was to overthrow Soviet power in places where the Greeks in the Soviet Union and a fascist-type bourgeois state. «In total 3470 people were executed Greek origin, and sentenced to 158 HUTABu [13; 289]. In December 1937 the composition of creative theater suddenly announced Mariupol »Mediocre theater of conservation is not a necessity» and closed. The first was arrested in December 1937 director of the theater G. Dehlari, then S. Yanhicher actor, poet G. chiropractor and head of literary part, director D. Telenchi. The tragic fate of the institution shared and archive of the theater, which was completely destroyed. Under the Protocol, the Executive Committee of the Donetsk Regional Council of People’s Deputies number 145 Greek workers and the peasant theater liquidated »because of the lack of creative personnel, strong ideological political background and repertoire. » Minutes dated 28 January 1938 [12; 49]. Although next day theater was showing his latest work - a small tragedy of Pushkin’s »Mozart and Salieri» in translation and staging D. Telenchi [8; 4]. On the initiative of Mariupol artists created a plaque in memory of the destroyed Greek theater. Authors boards - local artists Fasulaki A., L. Yatsynyak, V. Derzhynskyy all work performed as charitable - Free [12; 37]. Thus, in the 30-ies. XX century. a landmark event in the cultural and artistic life of the North Azov was the creation and operation of the first in the Soviet Union of Greek theater. Within five years Since its founding to the tragic death of this team was, as they said in those years, »Tribune of public opinion», promoting their performances in the original culture of the Greeks Azov. Theatrical life continued despite the lack of funds due to the enthusiasm of ordinary theater people and intellectuals. Greek Theatre, which contributed to the renewal of artistic culture the region has become an integral part of the cultural and artistic spaces and along Northern Azov the same experiment revealing ideological Soviet power technology in national policy.

References 1. Batsak N. I. Northern Azov Greeks, cultural and educational development (late XVIII - beginning of the twentieth century.): Abstract. Thesis ... candidate. East. Sciences: 07.00.01 / NI Batsak; NAS of Ukraine. Institute of History Ukraine. - K., 1999. - 20 p. 2. Burov SD IZ Experience cultural work prosvetytelskoho obъedynenyya them. By F. Hartahaya Revival of National samosoznanyya Greeks Pryazovya / SD Burov, IA // Nalchadzhy Donbass Pryazove and Problems of Social, of National and spiritual development. - Mariupol, 1993. - S. 146-148. 3. K. Goncharuk Greek Theatre Ukraine 1920-1930 years: light and shadow / K. Goncharuk // Kiev old. - K., 2002. - № 2. - P. 75-82. 4. Dehlary G. Tvorcheskye successes Hrecheskoho theater / AG // Dehlary Priazovskiy proletarians. - 1936. - 8 Apr. 5. Zakharova G. Rasstrelyannыy hrecheskyy Theatre: 80th anniversary for the grounds Mariupol. State. hrecheskoho theater / Zakharova. - Mariupol: New peace, 2012. - 124 p. 6. Mariupol State announces Greek theater set ... // Azov proletarian. - 1932 - 15 February. 7. Mariupol and ego okrestnosty: VIEW IZ XXI century / RP Bozhko, T. were, Hashenenko N. et al. - Mariupol Renata, 2008. - 428 p. 8. »Mozart and Salieri» in the language hrecheskom // Sotsyalystycheskyy Donbass. - 1937. - 28 sept. 9. Nalchadzhy I. Story kraeveda: Pamyat Mariupol hrecheskoho theater / AI // Nalchadzhy Priazovskiy workers. -1992. - 10 apr. 10. Petrov AA theatrical life of Donetsk in the 20-30-ies. XX century. / AA Petrov // Bulletin Donbass. nat. Academy of Civil Engineering and Architecture. - 2013. - Vol. 2. - P. 64-71. - Access mode: http://nbuv.gov.ua/j-pdf/ vdnaba_2013_2_15.pdf 11. P. Popov Vspomynaya hrecheskyy theater / Popov // Priazovskiy workers. -1992. - 8 May. 12. Protsenko AD Years, plays, tragedy. IZ history pervogo state-owned hrecheskoho Hi-tech work-kolhoznoho theater in Mariupol / AD Protsenko. - Mariupol, Mariupol. about Prospect Greeks, 1999. - 72 p. 13. Terenteva NA Greeks in Ukraine: Economic and cultural prosvetytelskaya Activities (XVII-XX centuries.) / NA Terenteva. - K.: Akvilon-Press, 1999. - 352 p. 14. successes hrecheskoho theater // Priazovskiy proletarians. - 1936. - Feb. 12. 15. Chupryk LN Nauchnaya Help IZ history Maryupolskoho theater / LN Chupryk. - Archive Mariupol. kraeved. museum. 345. F. units. Coll. 25-26. - Mariupol, 1998. - 28 p. 16. Yali FK what time continue mockery of National Theatre / F. Yali // Azov proletarian. - 1933.- Oct 6. 17. Yali F. On one forgotten theater / FM // Yali Azov proletarian. -1933. - 1 March.

Summary The attempt to analyze the specifics of the formation and development of the Northern Greek theater Azov in the 30s of XX century. Considerable attention is paid repertoire, finding creative actor and basic problems of the theater. The role of the Greek theater in the public and cultural life of the region. Keywords: Greek theater, cultural and artistic space Hellenization, repertoire, tour.

Summary Demidko O. Mariupol state Greek theatre In cultural and art space of North Priazov’a (1932-1937) The attempt to analyze the specific formation and development of Greek theater of Northern Azov in the most difficult period of national history of Ukraine – 30-ies of XX century. Emphasized that first restore the history of Greek theater began to head cultural and educational association named Azov Greeks. F. Hartahaya, actor and director of National Theatre House of Culture of the plant »Azovstal» I. Nalchadzhy. Thanks to his work were found important information regarding cast, repertoire. Later, the issue of formation and development of Greek theater turned N. Batsak, K. Goncharuk, Zakharova, A. Petrov, A. Protsenko, L. Chupryk. The article emphasized that the creation of the theater accounts for the implementation of indigenization policy in Ukraine, that policies aimed at revival of ethnic minorities. Positive and negative trends in the implementation of this policy. The initiator of Greek theater was G. chiropractor. At the root of Performing Arts Greeks of Northern Azov were two principal directors – D. Telenchi and Yu Drang, for creative activities which generated a theater in original phenomenon of national culture. Much attention is paid to the repertoire at all stages of the theater, finding creative cast of the theater and the main problems. The role of the Greek Theater in social and cultural life of the region. Emphasized the role of Greek art in matters of national minorities, emphasized the wide use of local materials, national musical instruments, forms find them on them and efficiency; The specific organization of cultural services to the rural population in accordance with well- known ruling People’s Commissariat of Education. Since 1935, the theater turns into Greek Staging, activating transcription of Western European and Russian classics, although that meet the requirements of time, however limited the possibility of touring team, his perception of the general public audience. Reveals the specifics of the team in the absence of its own theater room; found the geography of tour groups in different periods of his creative activity. An important aspect of the national Greek theater in the period when it was the opening drama school, which invited the best participants of amateur region. Improve their skills and cultural level and actors theater: attending lectures on the history of the theater, Greek literary language, musical instrument, dance, team gradually becomes high professional signs. Creative outcome of the theater in 1936, began a tour in Crimea, in the cities of Simferopol, Alushta, Balaklava, Kerch. The repertoire included plays »The Stone Guest» by A. Pushkin, »Doctor willy-nilly» Jean Moliere. Highlight of the tour posters in this period was the premiere p’sy »Plato Krechet» O. Korniychuk. Periodical Press these performances supported a number of articles whose authors, analyzing tour, especially praised the play »Plato Krechet». The team was able to combine the topical theme of shaped its implementation in Greek, was noted in many reviews. In 1937, the Greek National Theatre, under the influence of known changes in the policy of the USSR, was closed and arrested and subjected to reprisals significant part of the executive. The final performance, which ended this period of national art, was staging Pushkin »Mozart and Salieri» translated and staged D. Telenchi. Key words: Greek theater, cultural and artistic space policy repertoire, tours, cast, the specificity of cultural service organization of the local population, political repression 1937 and national culture, translations of plays, music performances, national musical instruments, historical memory’ Five.

Abstract Demydko O.A. Mariupol hosudarstvenniy hrecheskyy theater in hudozhestvennoy life Pryazovya the North (1932- 1937) Analyzyruetsya Specificity Formation and Development of the North Pryazovya hrecheskoho theater in 30th Years twentieth century. WARNING udeleno repertoire tvorcheskym Search akterskoho composition and problems theater. Hrecheskoho solved role in the theater life obschestvennoy and kulturnoy region. Keywords: hrecheskyy theater kulturnыy space, repertoire, tours. Received 10/12/2014

UDC 316.74: 929 (477) »1895/1968» (043) T.H. Dobina

B. LIATOSHYNSKY TRIPLE INCARNATION OF ONE TALENT

Modern culture as a product of millennial human development has long been an integral part of the complex mechanism of functioning of any social order in all without exception states and countries. Hence all the historical events and processes - evolution or transformation revolutionary upheavals inevitably affect the content and the cultural sphere. That such devastating effects while updating Ukrainian culture has undergone in the first quarter of the twentieth century. When the Russian Empire swept several revolutions and world wars disappeared and then rebellion died down fighting and civil war and armed reprisals Bolshevik dictatorship Radically changing socio-political situation after the establishment of Soviet Ukraine government largely led to a qualitatively new level of development of culture in general, and musical thought, especially its theoretical spiritual foundations in particular. The burden of great change, the effects of complex fitting and fight new and old, have led to deep contrast of tastes and passions in music culture, including in the field of music and educational activities. Among the specific objectives of improving education in the socialist conditions need to accelerate social and spiritual development of society special importance of overcoming the educational process discrete, limited framework of professional and educational system. Radical ideological and ideological reorientation of educational and cultural educational activities require a deep understanding of all aspects of spiritual and creative Disclosure of the individual in the formation of a new artistic atmosphere. The most effective solution methodological principle newly complex culture-rational problem was recognized extension inherited from previous mode of continuous practice of spiritual and aesthetic education of new generations. It is important to emphasize that the Ukrainian pedagogy and educational elite, which included B. Liatoshynsky, considered appropriate in the circumstances radically changed world view Updates implement deep ideological and artistic space based on comprehension and preserving the traditions and values of national and world culture. Being a true landmark Ukrainian music culture figure, B. Liatoshynsky has made every effort to raise the prestige of this activity, which was due and the requirements of the situation, and the inner conviction this noble work devoted artist and thinker. Full of creative genius specificity of Liatoshynsky as public and personalnoobosoblenoyi some extent explains the absence to date and complete of a comprehensive study of the theoretical heritage of outstanding musician, composer, teacher and public figure of the Soviet era. Admittedly, the educational activities of unsurpassed connoisseur canons and laws musical and artistic skills still not been the subject of a separate investigation and has not been studied in full. Existing research, monographs, dissertations dedicated to his figure I. Belza publication, V. Samokhvalova, N. Zaporozhets V. wedge mop M., T. Bulat, Ivan Tsarevich, Kanevskoyi D., K. Shamayevoyi and others. authors reveal a number of individual faces B. Liatoshynsky as talented and active participant in a long period of enrichment Ukrainian musical realm or they have covered specific issues of musical language and style it works. The same number of works devoted to educational activities Liatoshynsky unfortunately limited only memories of his students [1-2]. In this regard, the relevance of this work is seen in need for research, which has the full embrace invaluable contribution outstanding creator, theoretician and critic in the development of music pedagogy and will expand idea of the scope of his professional and social activity and its importance for conspicuous development and prestige of Ukrainian culture. The aim of this study is to identify and disclosure pedagogical concept Lyatoshynsky for scientific use in certain crisis of our time, similar to the early twentieth century. In this paper, first raised the problem of the relationship of teaching and performing platform composer followed general theoretical and musical-psychological concepts; Liatoshynsky inheritance pedagogical traditions in the work of his pupils and followers. The process of teaching, training and education, primarily young people, is in formation, formation and development of personality and is closely linked with the existing cultural and educational work. Significantly, very serious attention to the spiritual education paid other famous Music theatrical and literary and artistic figures, including D. Revutsky - Ukrainian Soviet composer, musicologist, folklorist, literary critic and teacher of music and Kiev Drama Institute. Lysenko, S. Lyudkevych - Ukrainian Soviet composer, musicologist, teacher, doctor of musicology, V. Kosenko - Ukrainian Soviet composer, pianist and teacher, M. Kolessa - Ukrainian Soviet composer, conductor and teacher, and others. It should be emphasized that the genesis of Ukrainian school of composition in the first half. The twentieth century. directly connected with the name B. Liatoshynsky, who made a special contribution, especially as teacher, thus enriching the whole Soviet culture and extraordinary expressiveness and bright imagery musical language that established a unique handwriting and his real skill. Theoretical heritage Lyatoshynsky covers various types of its artistic and educational creativity he showed himself as a musician, composer, conductor, writer, critic, and public figure amazing teacher - first- class master of his craft. Creative and pedagogical legacy of Boris Liatoshynsky Nikolaevich - Professor of Kyiv and Moscow conservatories, the national Artist of the USSR, - in its entirety can be considered as theoretical generalization of experience Ukrainian school of composition and a half and middle of the XX century. Note that this difficult historical experiences within the radical nabuvavsya renewal of spiritual life and breaking many outdated stereotypes in the atmosphere radically new thinking and new approaches to issues of upbringing, education and teaching methods, whereby Maximum attention was paid to the history of their people and careful preservation and careful transmission of values of the national culture of modern and future heirs. Of particular note is the fact that creative work always had Liatoshynsky combined with educational and musical and social activities. He is one of the masters Ukrainian Soviet musical culture, creative interests are extremely deep and diverse, and distributed by composer and conductor practices to the public and journalistic and educational activities. Track and understand the range of its small and large affairs and duties, all the amount of work carried out by him can not be beyond comprehension of all issues related to its personal creative plans, and without awareness of its role in transforming teaching and general cultural trends of the past in the realities of contemporary historical reality. Scientific and theoretical work Lyatoshynsky deserves attention not only as a supplement ohromu to his music, but also as artistic and aesthetic and ethical positions of the designated era. Expressed in the writings of theoretical ideas and arguments is sufficient complete picture outlook of the composer, his views on society and culture. He did not want to put up with manipulating values horizons in the field of culture. Liatoshynsky stressed attention to the urgent and fundamental problems of culture and creativity, the special responsibility artist - composer, teacher and activist culture before the past, present and future for that spiritual setting of which he is leader. Of particular importance in the spiritual development of society in general and youth in particular, has teaching and social activities Lyatoshynsky. The main factor in its educational work is a common understanding of the relationship tsivilizatsiynyh era trends with specific problems of education and education of the individual, which leadsto understanding the purpose of the educational process, roadmap development human individuality through the primacy of human values. He was a supporter of -centered pedagogy that shows respect for the human »I», which creates conditions for student self-identity and reveals to him the spiritual treasures of humanity. This attitude toward training and education of the young generation culturality creative avant-garde took over from his Master teacher and friend Glier, who brought his star on the way great culture. Lessons Liatoshynsky as a reflection of his pedagogical concept - teacher-friend, who later acquired terminological cipher »Pedagogy of cooperation» were in particular from dissonance contemporary trends and methodological approaches based on fruitful experience Lyatoshynskoho- time student in cooperation with his teacher Glier. However, now they (lessons) are not only historical significance, but also saved the methodological value. It R. Glier, professor of the Kiev Conservatory, played a prominent, but rather a crucial role in formation and pedagogical talent of composer B. Liatoshynsky as of the date card it should observe a particularly momentous in the life of a gifted student - future outstanding navchytelya many other favorites Muse. Boris always gratefully remembered years Learning from his meter, for the same at the invitation of the famous professor of Kyiv Conservatory became a student of his class. Worldview young composer influenced by creativity and pedagogical talent Glier, it is not surprising that the first teaching and composing Liatoshynsky steps based on the author’s favorite traditions mentor. You can seen in the communication Liatoshynsky has with her students. Glier made huge influence in shaping his creative musical tastes, ethical attitudes and pedagogical approaches. «We - the students - were different in their inclinations differently written - told of their B. Liatoshynsky conservatory years - our teacher brought us, basically, in the tradition Russian classical music, never, however, does not necessarily compel all equal in one line did not prevent develop according to our inclinations. He demanded only one thing: that we were sincere in their musical statements that they certainly felt the truth of thought and feeling to steadily improve their professionalism »[4; 14]. These important tips lay teacher the basis for fundamental labor code, pedagogical and creative activity and retained Liatoshynsky its importance for his students. Grateful chosen destiny maintained close relations with the master, which eventually grew into sincere human friendship. After graduating from the conservatory in 1919 there were Liatoshynsky teacher Music and theoretical subjects. Feelings of mutual love and respect both survived the now colleagues Glier until death, and remembering the long years of apprenticeship, Liatoshynsky enthusiastically wrote about his teacher he was »not only an excellent music teacher, but also an excellent teacher of life ...» [4; 16-17]. In autumn 1920 Glier moved to Moscow. Separation precious teacher was painful for Liatoshynsky: »... with a sense of worth, I realized that my training period was over him, but at heart kept great appreciation »[4; 15]. In the same year B. Liatoshynsky was invited to the conservatory teacher of musical theoretical discipline in performing departments, and from 1922 heads the class special theory of composition, whose first graduates in 1925 were Ivan Taranov G. Belz and that in later gained the degree of Doctor of Arts. In 1935 Liatoshynsky begins to composition and instrumentation courses in Kiev Conservatory and in the same year he was awarded the title of professor, and from 1935 to 1938 he taught parallel two conservatories - Kiev and Moscow, which also served as a professor. With the time and the last days of his life he did not leave teaching, working selflessly and recognition of the musical talent of the Ukrainian people. It is connected with the name Liatoshynsky becoming a respected school of composition, which is marked by creative original imaginative handwriting and deeply moral views on the purpose of the artist. The class consisted of Liatoshynsky of different ages and creative aspirations of students, among them found themselves G. Taranov, I. Belza, I. Shamo Shchurovsky Yu, L. Spasokukotsky, G. Vereshchagin, A. Andreyev, Mikhail Frolov, M. Poloz, A. Kanerstein, V. Ponomarenko, Maystrenko Yu, W. Kyrpan, L. Dychko, L. Grabowski, V. Silvestrov, I.Karabits, B. Field, E. Stankovic, G. Miretskiy, musicologists N. Matusevich, T. Ter-Ovanesova et al., Which brought Ukrainian musical culture to world space. Formation of knowledge, practical skills necessary for creative activities inherent Labor true teacher, requires fundamentally new approaches and views on the content and methods of quality training of future artists, so with his students Liatoshynsky was not only work as the main subject, but all musically theoretical disciplines. Going accompanied constant theoretical and analytical work. His students not only the constantly studied textbooks, but also valued the opportunity to hear a live performance and is already known and new compositions of his teacher. Feeling B. Liatoshynsky personality scale and radical impact on the overall Development composition activity, inseparable from his understanding of the importance of teaching activities - composers who have completed class Liatoshynsky, even now with all the talk about it as Creator, Master, Master. And one of its most valuable qualities is mentoring gift identifying the individuality of each student, aspiration formation of his creative personality ranging from student start. According to the memoirs F. Aerovoyi, »the students Liatoshynsky B. treated very carefully, trying to discover the identity of each, assessed its progress with goodwill and harsh at the same time demanding. «Students subordinated »... deep content and social significance of his works, great skill embodiment of artistic ideas, encyclopedic knowledge, breadth of interest, honesty in characterizing phenomena and along with that - and simplicity goodwill to communicate ... »[1; 20-21]. Appeal to his disciples Liatoshynsky pedagogical foundations show promise marked him problems on pedagogy, psychology of performance, analysis and interpretation of works and proper characteristics of a musical and artistic era. However, recalling the composer school, should be attributed to it not only his students, and many other authors, in one way or another affected the activities spadschynaLyatoshynskoho and music, and, in addition, - said about his exceptional role in development of Ukrainian school of composition in the broadest sense as real recovery factor professionalism and skill level in general. A magical presence of his personality and talent will be a long vchuvatysya in his works and opuses his students, concert halls countries vhaduvatysya in the future development of the Ukrainian composer identity. Educational activities and general Liatoshynsky went beyond his music creativity, she had absolute influence on the artistic and aesthetic and ethical education contemporaries. Liatoshynsky »as a teacher-educator, professor of the Kiev Conservatory in fact laid the foundations innovative trend in Ukrainian school of composers of the twentieth century. »[6; 7]. Training and teaching system Liatoshynsky was closed on important details many specific professional issues, so it viddzerkalylys optimistic outlook, broad-minded, high intelligence, sophisticated artistic taste true outstanding teacher. For thorough and rigorous analysis of the characteristics of the problems emerges dominant creative thinking and self-expression of the artist. Each of purely technical issues discussed Liatoshynsky, penetrated the depths of his understanding of music and semantic purpose. The task of forming interpretatorskoho talent and thinking since the first stages of its curriculum »red thread» runs through his teaching experience and creative ingenuity. The entire educational system and methodology was Liatoshynsky aimed at disclosing the creative personality of the musician - and the novice and graduate. Thoughtful teacher, a gifted singer, a tireless social activist, author think articles and polemical speeches, composer - that was incredible level and range of Maestro that not only goes beyond the basic duties specialty, and significantly highlights this person among his fellow contemporaries. He compiled and recorded in his heritage experience galaxy of artists of previous generations and the contemporary era. As a thinker, he was typical find and synthesize the most significant, valuable and amazing with teaching and performing experience different ages. Most of his pedagogical ideas had great scientific and practical perspective, what indicating their productive use and development of pupils and followers. So tracing educational activities Lyatoshynsky can say that Master in the activity relied on the traditions of previous generations, including inherited method his teacher - Glier, and enriching and upgrading it carefully and gave to his disciples followers that made it possible to understand and define its pedagogical concept, which actually devoted to this scientific and theoretical research.

References 1. Our Aerova F. Teacher / F. Aerova // Music. - 1995. - № 1 (Jan.-Feb.). - P. 20-21. 2. Bэlza I. BN Lyatoshynskyy / AI Bэlza. - Moscow; AL: Gos. muses. ed., 1947. - 170 p. 3. Kopytsya H. E. aspect in the study of sources heritage Lyatoshynsky / H. E. Cinnamon, MD Kopytsya // World Music Boris Liatoshynsky: Coll. Intern materials. teoret. Conf. devote. 100th anniversary of the Birthday. composer. - K.: Tsentrmuzinform, 1995. - P. 89-93. 4. Lyatoshynskyy BR Hlyэr - musician, teacher, friend / B Lyatoshynskyy // Sov. Music. - 1956. - Number 10. 5. Liatoshynsky BM Epistolary heritage: in 2 t. / BM Liatoshynsky; compilation. and buses. introduction. Art. M. Kopytsya. - K.: Zadruha, 2002. - Vol 1: Boris Liatoshynsky - Reinhold Glier. Sheets (1914-1956 gg.). - 768 p. : Ill. 6. Ivan Lyashenko B. Liatoshynsky World Music / I. Lyashenko // World Music B. Liatoshynsky: Coll. Intern materials. teoret. Conf., devote. 100th anniversary of the Birthday. composer. - K.: Tsentrmuzinform, 1995.

Summary Problems pedagogical concept relationship with B. Liatoshynsky general theoretical and musical-psychological topics; inheritance pedagogical traditions of his pupils and followers. Key words: cultural heritage, educational activities, educational concept, cultural educate, school of composers, educational system, historical and cultural process.

Summary Dobina T. B. Lyatoshinskiy: three hypostasiss of one talent The main purpose of the article – to identify the specific creative personality famous Ukrainian musician, teacher and public figure in the context of the national cultural practice today. The problems of the relationship Lyatoshynsky pedagogical concept of general theoretical and musical-psychological themes; inheritance pedagogical traditions of his pupils and followers. Emphasized that existing scientific studies, monographs, dissertations, publications devoted to his figure I. Belza, V. Samokhvalova, N. Zaporozhets V. Klina, M. Shock, T. Bulat, Ivan Tsarevich, D. Kanevskoyi, K. Shamayevoyi and other authors reveal a number of separate facets of B. Liatoshynsky as talented and active participant in a long period of enrichment Ukrainian musical realm or they have covered specific issues of musical language and style of his works, while the pedagogical aspects of the composer’s memories are mostly of his students, and basic research on this point. But he B. Lyatoshynskyy entered the history of music culture as an unsurpassed expert canons and laws of musical and pedagogical skills. He was a fan-centered pedagogy that shows respect for the human »I», which creates conditions for self-realization of the individual student and reveals to him the spiritual treasures of humanity. This attitude to training and education of the young generation of avant-garde creative culturality Master took over from his teacher and friend Glier, who not only studied, but also kept good relations throughout life. Lessons Liatoshynsky as a reflection of his pedagogical concept – teacher-friend, who later acquired terminological cipher »Pedagogy of cooperation» were in a dissonance of contemporary trends and methodological approaches based on fruitful experience Liatoshynsky-time student in cooperation with his teacher Glier. However, now they (lessons) are not only historical value, but also saved the methodological value. Liatoshynsky class consisted of different ages and creative aspirations of students, among whom found themselves G. Taranov, I. Belza, I. Shamo Shchurovsky Yu, L. Spasokukotsky, G. Vereshchagin, A. Andreeva, M. Frolov, M. Poloz, A. Kanerstein, Vladimir Ponomarenko, Yu Maystrenko, V. Kyrpan, L. Dychko, L. Grabowski, V. Silvestrov, I.Karabits, B. Field, E. Stankovic, G. Miretskiy, musicologists N. Matusevich, T. Ter-Ovanesova et al., which brought Ukrainian musical culture to world space. With his students, emphasizes the author, B.Lyatoshynskyy was not only work as the main subject, but all musically theoretical disciplines. Classes are accompanied by constant theoretical and analytical work. His students not only the constantly studied textbooks, but also valued the opportunity to hear a live performance and is already known and new compositions of his teacher. One of the most valuable qualities of his mentoring gift, noted in the article, is to identify the individuality of each student, an effort formation of its creative personality, from a student start. Education and general activity Liatoshynsky extend beyond his musical creativity - says the author, it was an absolute influence on the artistic and aesthetic and ethical education contemporaries. Training and teaching system Liatoshynsky was closed on important details many specific professional issues, so it viddzerkalylys optimistic outlook, broad-minded, high intelligence, sophisticated artistic taste truly outstanding teacher. For thorough and rigorous analysis of characteristics of the problem emerges dominant creative thinking and self-expression of the artist. As a thinker, he was typical to find and synthesize the most significant, valuable and amazing with teaching and performing experience different eras. Most of his pedagogical ideas had great scientific and practical perspective, as evidenced by their productive use and development of pupils and followers. Key words: cultural heritage, educational activities, pedagogical concept of cultural work, the national school of composers, educational system, historical and cultural process, journalism, periodicals and professionalism.

Abstract Dubin T.G. B. Liatoshynsky: three positions one talent Rassmatryvayutsya problems vzaymosvyazy pedahohycheskoy concept B. s Lyatoshynskoho obscheteoretycheskymy and musical and psychological topics; preemstvennosty Teaching traditions and activities ego vospytannykov followers. Keywords: kulturnoe Heritage, pedahohycheskaya Activities, pedahohycheskaya Concept, cultural prosvetytelskaya Business, kompozytorskaya school pedahohycheskaya system historical and kulturnыy process. Received 08/11/2014

UDC 792.54 V.N. Draganchuk

NO LESSONS LEARNED FROM THE HISTORY OF UKRAINIAN NATIONAL OR IDEA SELF-ORGANIZATION IN LITERARY AND MUSICAL DISCOURSE (»ZAHAR BERKUT» FRANKO - »GOLDEN RING» B. LIATOSHYNSKY)

Art culture as a product of reflection of reality and vice versa - a means of programming - provides answers to all the questions that were key to the present. Among them - the national idea and its comprehension, which is expressed in the immortal artifact of literary and musical discourse – Opera »Golden Ring» B. Liatoshynsky the novel «Zahar Berkut» Franko. The purpose of this research is to show the idea of self-analysis as »old hromadstva» Franko and relay it to the plane of musical modernism Liatoshynsky. Objective: To explore the symbolism »Silvered chain» in the story »Zahar Berkut» and «Golden Ring» in the eponymous opera; show implementation of the said idea how Ukrainian myth in the context of musical modernism. Franco - a special figure in the phenomenon of Ukrainian mentality thinker saw the prospect of a European future, so today our society treats him with great reverence and spiritual at the same time warning against intellectual comprehension depths his thought. A scientist and a poet, writer and translator, and political figure Gromadzki ... Titan »Renaissance type» on whose shoulders has a new Ukrainian national idea as one of germs European »Spring of Nations», to »take a place in the chorus of other cultural nations» [21, 404] archetypal Doctor Universalis [19]. Looking through the prism of national universal Franco in creativity, and their lives hadst formed the image-Ukrainian archetype Moses – National conductor universal spiritual and religious type, becoming in a number of poets who at complex intervals Ukrainian history and the power of words will have replaced national leaders, realizing syncretic national archetype of the philosopher-warrior - Skovorodynskyy archetype. We expand unrecognized book Franko message to descendants, starting with the page that integrity forms the Ukrainian spiritual continuum from ancient times to the present and shows meaning those who have we and other European nations recognize as fundamental, the most relevant in the present. Reflecting on the history of Europe for thousands of years, society assumed one important mistake: freedom interpreted Europe as its only West European achievement. This missionary role of Ukraine as a »European eternal shield» from various eastern invasions leveled. Situated in the geographical center of Europe, Ukraine has actually become part of non-European space, but today, because of mental changes in the European part of Russia, recaptures its right to be the eastern borders of Europe and not from Western Urals. History repeats itself how karma: Ukraine - »eternal shield.» Therefore it is always relevant, would say, »actual fatal» is Vision Franko »Zahar Berkut» - work truly special is because it is »Zahar» was germ to explore the literary heritage of the artist in Dnieper Ukraine for Unity Nation symbolic chain - dig banner, which, transferring from house to house convened Public Council, a chain where each ring is firmly holds the following, which is for Ukrainian »Public order», and in fact - the national idea of self-organization. Symbolism of the chain Ivan Franco essentially in artistic form reflected in the principle of combining synerґetychnu system – system self-projection in which the culture grounded Ukrainian scientist A. Svidzynskyy: »The process of self-noosphere is culture» [17; 33]. Franco wrote: »See to it on this our banner! On the one produced healthy stump all that solid a chain as strong and self-contained, but nevertheless am free to kozhdim poyedynchim Casters, ready to take all sorts of ties. Say chain - is our family ... Rus Kozhde Casters in that chain - the one community closely with the nature associated with the other, and, nevertheless, freely in itself ... live their own lives … Only such integrity and freedom kozhdoyi solitary community makes all the solid integrity and freely. Let only one Casters crack ... then a chain break up ... Here and fall of free social order in one community is wound, which brings sickness, and even now to the whole body of our Holy»... ; »... Wrong values banners that povivaye on our banners. Why is she red? Because then blood! By ostatnoyi drop of blood should defend the community of their freedom, their St. down! »[20]. Described chain is the principle which underlies synerґetyky - the theory of self-organization, where union structures lower order, ie »Rings» - local communities, forms the structure of higher order - »chain» - the community of all. As the research of A. Svidzynskoho, this principle explains the phenomenon of culture, and that ethnic groups are the basic units in cultural creation [17, 33]. The impulse to creation hromadstva programmed Franco in Ukrainian mental matrix through interpretation of the legend of the brave and worthy patriots Tukholians, the writer declares in work subtitle - »The image of public Carpathian Rus in XIII age.» This »image» Franco takes as an example to follow in our time. Self-organization as the Ukrainian national idea runs through all of its content, which is the culmination of drama dying monologue Zahara: »Fathers and brothers! .. What we overcame? ... We overcame our social system, our consent and friendliness. Take heed good at this! As long as you live in a public manner together keep pile, inflexible stand all for one and one for all, until no enemy force will overcome you »[20]. It is this, the main impetus Ivan Franko B. relays in literary Liatoshynsky the musical discourse, creating a libretto by J. Mammoth opera titled, meaning that targeted increases in a symbol of citizenship mythological, spiritual and religious meaning. Symbol self - okutyy silver chain dig mark on which »our rest and our duha-Guardian Blessings’ representatives in the opera as »Golden Ring,» »Golden Circle» Dazhboga that is a sign and higher spiritual power and unity of the community. In the musical plan »Golden Ring» portrayed theme of which is »chain» parallel major triads in the »golden light» copper wind, symbolizing the »golden ring.» Thus, the opera is an artifact of culture, outlining Ukrainians time horizons, combining »Golden Ring» generation in the same spirit continuum, and space by including Ukrainian myth to European mythological space. On the idea of the main character of the opera draws attention M. Novakovič [12, 74-79], with modern position justifying the fundamental meaning of the opera that could not be openly expressed in Soviet era as a whole sense of creativity Liatoshynsky [5-6; 8-10; 13-16]. After all, so Similarly difficult was the fate pershoprem’yer »Golden Ring» in 1930 Stalin and [4]. The philosophical prism to view M. Novakovič vizioneryzm began as a kind mifolohizmu that considers parallel with poetic modernism of the first half of the twentieth century, represented Malaniuk, A. Lyaturynskoyu, Y. lime, Olzhych, Yu Daragan and whose declared aim According to literary critic V. Morenets - its creation of »national myth historiosophical Ukraine »[11, 293]. In this series composer Ukrainian artists one of the first appeals to the Middle Ages, after collection »Quiver» (1925) J. Daragan, and will return to this later period of creativity, the last one, five, »Slavic» Symphony (1955-1966 gg.), which uses two epic themes from K. Danilov collection. With vizioneryzmom M. Novakovič relates, first, interest Liatoshynsky ancient layers of the Ukrainian folklore (in collecting materials helped the composer K. Flower) that have been updated «Overture four Ukrainian themes» (1926) and sounded in »Golden hoops »in etnostylovomu in a lyrical version of» Oh forged cuckoo »kolomyiky» Hoy’s time, pidkivochky »Dance and others. Secondly - the rejection of specificity and detail, bringing »National historic past mifolohizuyetsya» [12, 74] lives »nadchasovym life is something that There is always that if constantly repeated and will be repeated on - but actually this is principle mythological thinking ... »[11, 294]. And third - level language and speech that is use archaic forms, which are used as literally (almost 20 folk designs first calendar ceremonial) and transformed into that grows to a level generalization. Mythologizing source affected the variations in a number of characters and their stories. The main myth opera - redemption - created by the death of Maxim, which brings him to the Christian and at the same time with the mythology of Wagner opera. Allusions to O. Wagner and Scriabin that many researchers have noted on different planes Opera can be summarized as follows. First, the relationship at the conceptual level. This analogy »Golden Ring» - »gold ring». It is also a parallel analogy and the opera Liatoshynsky, and tetralogy »Ring des Nibelungen» Wagner myth of Christian redemption: these are archetypal a pair of »father» and »son» - Siegfried and Wotan with Zahar of Maxim, each of the characters have their own heroine, ready to sacrifice for him - and Miroslav Brunhildu. Obviously, the »reinforcement» ideas death-redemption and the Moors introduced - the ambivalent image-Moors Death (associated either with Moira Greek goddess of fate or with Ukrainian Maro), mourning Tukholians and material Fatherland, the voice of children [12; 76]. Secondly, an allusion to Wagner and Scriabin - in music and linguistic level, which is manifested in the »solid» symfonizatsiyi and »instrumentalization» musical fabric, thus created a special broadcast. Even the most motifs created Liatoshynsky, see the analogy to Wagner - the use circulatio figures as a symbol of a circle leitmotif »Golden Ring» and »gold ring» until the interweaving intonation »destiny theme» with Maxim tetralogy aria in the first picture, »I serf ... It Boyar’s daughter», with opera remains the result of »personal vision of the artist» [12; 77]. In acknowledgment add that Liatoshynsky Wagner’s tone weaves »destiny» and the scene on the square near the old oak, when the background patriotic Prayer father and all Tukholians Maksimov heart full of internal conflict for krayetsya Miroslava sweetheart, the daughter of a traitor, vocal theme »Oh Dole, Dole! What you act you with me? «Is transformed version leitmotif fate of the »Ring ...» and sounds in the background of the theme »watcher» in the orchestra. Option this motif as orchestral sounds and images in the internal oscillation Miroslava stage with the ring in the Tatar camp, accompanying the vocal love theme from »No Can I take with gifts hands, pour bloodand my people »(the second act, friction picture). We can note also symbolic of the rising use of transit »take-off», which is the motif of »forging sword »in the tetralogy, as the second element of the theme» watcher »- stone, in which Moran turned the king Anak. The overthrow of the »watcher» to flooding Mongols Tukholians will win, and this element themes common motive from Wagner’s »forging the sword», meaning victory will come in the scene Flood (intermezzo in the third act). Trill late rise if representing the light that illuminates the »watcher» - just as the sun shines bright gold of the Rhine. On the whole opera is based on the extensive system of leitmotifs that begins on motive »Golden Ring» in the introduction, creates a dramatic key moments of the opera, until the final, where there together motifs and themes «Golden Ring» and Dazhboga, death and love-love. Yes Liatoshynsky represents the apotheosis of the main ideas - individual death-redemption is inseparable from love and the universal spiritual (Dazhbog) and public (hoop) wins. As a result symfonizatsiyi characters, along with own vocal - declamatory character - parties get their »instrumental» party. This demonstrates the composer’s special skills and at the same time causes difficulty implementation and in view of the tragic history of culture in the Soviet era, the fate of opera in difficult conditions against »formalism» (remember the allegations concerning Shostakovich opera »Lady Macbeth Mtsensk »in 1936 in the infamous article» Muddle instead of music »). And the third – increased tool storage: Composer uses a triple with a large orchestra composition an expanded group of percussion and brass accented role that depicts »Glitter gold» hoop so as to Wagner’s ring, and shine distant stars in Scriabin (special role brass in the work Lyatoshynsky researched P. Vakalyuk [2]). N. Novakovič, pointing to analogies in the operas of Wagner and Liatoshynsky concludes that »National composer sought to create a ground equivalent Wagner code» [12; 76] to then adds - in the spirit of Scriabin’s musical and verbal expression. Of course, allusions to Wagner is extremely strong, but there is a semantic difference interpretation of «Golden Ring» and »golden ring» in their purely external analogy with affinity with Mstislav ring. In this ring Wagner underground dwarf-des Nibelungen, forged of gold from the bottom of the Rhine, whose purpose - to give possession of the world because it vykuye who in exchange for rejection of love; ring story as »unclean»: stolen ring is a curse, it has return the hero, not knowing fear (Siegfried); as a result of the history of the ring causes Apocalypse - as a symbol of redemption from evil protagonists, the gods are dying in apocalyptic fire. In Liatoshynsky »Golden Ring» - a golden circle Dazhboga, patron saint, the chain of a ring, which consists of many strong communities rings: »His continuous hoop and closed - the free mountain communities unity! »- says Zahar Berkut on the board near the old oak (first action, second picture); mark is attached to this color of blood, »red, scarlet, silver Embroidered »banner:» ... let me everyone who is here, life blood and hinders land »- Zachary continued; so gold hoop are spiritual and religious, spiritual and social symbol that unites Tukholians of divine power and another. Instead, there is the opera and the »real» ring, which, in contrast to »Golden Ring» as a symbol of divine light associated with «dark» characters. As well as tetralogy, he gained an unfair (removed from the severed finger), it passes on Miroslava Maksym »dark» witch Moor. The ring does not perform its function as semantic »Safety mark», which he provided Tatars. Without spiritual and mythical power ring does not help Maxim sacrificial death of »Peta Myroslava filed with his finger a big gold ring, acquired him at the Battle of Kalka from Prince Mstislav. On the rings was a large golden-green beryl with figures carved on it. Miroslav vahuvalasya whether to accept a gift from an enemy - perhaps even reward for betraying his father »[21]. This ring in Liatoshynsky not acquire such meaning and significance, as in Wagner, therefore, has its particular characteristics leytmotyvnoyi (unlike Wagner leitmotif fate motif ring des Nibelungen - »sliding» down-up tertsiyevyh series – in Ukrainian opera did not meet). Thus, the two circles - unbroken chain, light divinely public symbol and »human» ring of golden-green beryl - the first is the main mouthpiece the idea of the novel and opera called his »honor», and the second value is not special, and it role remains episodic. So he »set off» and reinforces the importance of symbols »golden hoop chain. » Analyzing the sound Franko national and spiritual vision of the opera, look for its main meaning, stopping at important moments of dramatic and musical performance. Opera includes a colorful display of Carpathian-Ruthenian ethnic group (the lyric »Oh forged cuckoo» kolomyika »Hoy, tsora, pidkivochky» dance) in the first and in the second Tartar camp (which x leitmotif begins Mongol-Tatars), which included bright female Persian, male Chinese, Indian and final dance (later one of them was struck suite). Developments begins with a love line - the scene of the meeting at Maxima and Miroslava Rescue of Bear (the first performance, first picture). Here Liatoshynsky as creating masterful symphonies musical canvas from light expressed diyeznoyu area in the high register leitmotif love (with intonation based on pure fifths), reminiscent of Scriabin’s speech: »I swear by the sun! Maxim brave! You vovik I will not forget »(Miroslav), which weaves the fate of Wagnerian leitmotif »Ring des Nibelungen» - »I serf ... it Boyar daughter ...» (Maxim), then the leitmotif of love dramatized, becomes painful and dramatic sound (and is taught in bemolniy field). Against this background, The first major dramatic sense of climax is a scene in the street near the old oak (and an action II picture), in which zaklychnyky-assemble the elders, bearing the mark. The atmosphere created event means symfonizatsiyi musical fabric in which the threads are interwoven »watcher» elders-zaklychnykiv, Zakhar Berkut and leitmotif »Golden Ring.» Strictly epic nature of the latter resolved diatonic symbolizes spiritual and ethical pervin Carpathian Rus and creates the mood of the opera, accompanying monologue Berkut »Fair community! Storm is coming to an end ... our native », which tells about the dangers and venality of Russian princes and boyars who »by his power Tatars are one sell one. » The first stage is the culmination of the story of the sacred hoop and its significance for Tukholians: »Fair community! Look for our sign it, »which activated leitmotifs» golden hoop »element-zaklychnykiv theme elders, and with the advent Tuhar Wolf - and its leitmotif. The second climax in the scene in the street - a dialogue Zakhar Berkut and Tuhar Wolf, symbolizing the conflict patriotism and betrayal as spiritual purity and zaprodanstva «Great Dazhbozhe! Do not listen to these ugly words. » It begins with the proclamation of a brass band motif, which can called »theme of prayer» - rising iambic course of three sounds, harmonized seventh chords, with a stop at the last as the highest to reach the top. Third culmination - Maxim conflict love to Miroslava, daughter of a traitor Tunhara Wolf, spiritual and patriotic Tukholians victory led by father Zakhar Berkut. This parallel sound of prayer ‘Big »Watchman»! with his subject and Maxim confession »Oh Dole, Dole! What you act you with me? », Which is transformed version leitmotif fate of the »Ring des Nibelungen» Wagner. Thus, in the opera image is particularly important line of Maxim and his love of Myroslava - love that goes through the death of the hero. In the Tatar camp is important dramatic moment Miroslava transfer ring as a «sign security», which accompanied her exclamation» I can not take with gifts hands, pour bloodand my people!» that based on the theme of love in the orchestra sounds again updated version of Wagner leitmotif fate (alternately in the low and high registers as an expression of doubt Miroslava - »Take or not take?»). When the story about the ring Maxim (second action, the fifth picture) updated leitmotif in love as transformed versions of the vocals – «Farewell! Farewell! My falcon, »and in the orchestra, which is particularly pathetic, kvaziskryabinskoho sound (Episode Appassionato). Return to understanding the spiritual meaning of National Opera is the beginning of the third action (sixth picture), the scene in the cave in the rocks Zelemenya Dazhboga, which delivers a monologue night Zakhar Berkut. It sounds Dazhboga topic - epic character, with alternating high and degree in natural VII es-moll, against the background of constant uniform sekundovoyi sixteen figures »B» - »ses.» It has tonal affinity with the theme »watcher» and focus diatonic induction Sound connects it with the theme Zakhar Berkut. The whole atmosphere reminiscent of the story of Pimen »Boris Godunov »Mussorgsky also shrouded» old times »in the spirit of the epic as Berkut takes semantic meaning monk ... Instead appearance Tuhar Wolf (middle stage) with a proposal Liberation son in exchange for passage through the Carpathians Tatars activates another facet of image-archetype Zahara - heroic: the answer is «It is better for all of us die than betray our neighbors» accompanied by the sounds pathetic leitmotif «Golden Ring.» Pathetic Development topic Q. Golden Eagle gets late sixth pattern, prayer Elder »Preyasnyy Dazhbozhe» in which the hero with the first morning rays which illuminates the »golden circle» Dazhboga, asks divine power to give «True harmony and strength, and courage,» send »and win free otchyznu.» Another »sign» piece world music semantics - «cross» - the climax of sounds in the background of a grand victory Tukholians in Miroslava exclamation »O Dole, Dole .. verbally» You are cruel» and developed further. From this »Cross» begins in Liatoshynsky final piece that makes sense patetyko- triumphant and heroic and tragic at the same time. Departing from the finale of the story, modernist composer reinforces the tragic aspect of this worldview. The apotheosis of patriotism and donations, the redemption is completed opera. It sounds together motifs and themes »Golden Ring» and Dazhboga, death and love-love, against which develops intrigue: »My son! Alive! »- Zahar Berkut; »Beat it! Kill!», «Oh! God! Do not let him die! »- Miroslav against the background of sound pathetic love leitmotif,» Odbyly »,» Bear! Carry my Maxima»- Myroslava with the choir, the orchestra party - the leitmotif of» Golden Ring »; «When lives - our great joy ... And no ... even greater honor to die for the homeland!» - Zahar Golden Eagle and the leitmotif of »Golden Ring» ... »... Son Dead» - the leitmotif of death and that intonation range reduced and harmonized in thirds vertically volume diminished octave expresses regret all schemlyvist and father. Die for the homeland - the eternal pre-Ukrainian virtue warrior celebrated in »Veles Book,» »Word on Lay» and other models heroic epic n Kshatriya »Beats Wings Mother Glory and calling us, / to go on our land and fought for burning our tribes; / ... For this essence Rus »- and death on the Prix as the highest good:» ... and should be clean and soul of our fleshly, / that never dies and does not disappear during our corporal death. / A who died on the battlefield Perunytsya gives living water to drink, / and popyvshy it is (a) to Swarga Riding white. / And there Perunko it meets and leading to their wealth to their palaces, / and there abide a and will receive a new body. / I have to live and enjoy freshwater and for ever and ever, / pray for us doing » (»Veles book» [3, 57]); »The Great Rus fields chrlenыmy schytы prehorodysha, / yschuchy sebЂ chty and Prince of Glory »(» Word ... »[18]). Note that similar to Perunytseyu can see in the »Golden hoops »in the form of Moors who mourned the victims. Thus, in the final at the forefront Maxima image that embodies the idea of redemption, whose father-citizen voluntarily gave a donation for the salvation of the peoples of Europe for Carpathians from the invasion of Mongols. Recall - »When lives - our great joy ... And no ... even greater honor to die for the homeland! ». This idea, inherited from his father, dying patriot Maxim delivers remarks: »... my congregation ... Do not cry ... Our victory ... Oh dear ... Happy land ... I am coming to you ...... », and the orchestral fabric unanimously, though mortally wounded warrior symbol, sound element leitmotif »golden hoop »and next to it - the leitmotif of death. And the pathetic grandeur and tragedy fatal moment overcomes the joy of their victory, which appears above the loss. So again sonorous in »Golden light» brass bells and background sounds the leitmotif of »Golden Ring»: »Happy fate - Accept death in battle for their country,» »joy off our gold hoop! For our victory. So the community celebration of unity! » In this context, there is no final »provydnytskyy» Berkut S. monologue from the novel in which Franco connects the Ukrainian past - present - future. Why? Perhaps Stalin realities forced to focus »past of» events, while increasing mifolohichnist. Obviously, they could not sound words Zakhar Berkut »Ancient hromadstvo long forgotten and seemingly buried. Oh no! Or our days are not destined to restore it? Are not we in the zhyyemo this happy time of renewal, of which, dying, said Zahar, and even in the Dawn of that happy day? »truthfully in the Soviet context. Nevertheless, Liatoshynsky gives instruction to be descendants of soldiers-defenders of their land through a glorious past show, «Lifetime memory and glory to those adopted by the community of Death!» - such an intention on the background of choral and bell leitmotif »Golden Ring» in the statement of octave increasing the action is completed. «Golden Ring» - a special mythological continuum that enters the national idea public self-organization and patriotic victory, Frank expressed in the wide world musical space. What made the composer? The idea of »gold hoop» strengthened mythological, Brahmin facet literary artifact Franko in-heroic pathos, kshatriyskomu context volitional mental field actualized Gran tragic; filed Brahmanic-kshatriysku Opera in semantics triumphantly apofeoznomu sense- as a ransom sacrifice-- life as a donation for son altar of victory, for the honor of the community, whosemission - protection for the peoples of the Carpathian passes Mongol invasion. This gave impetus to master modernist literary- musical discourse ... This momentum is extremely relevant today. Reflections on the plot and its Franko life in artistic discourse leads to the conclusion that Zakhar Berkut - is artistic expression Ukrainian skovorodynskoho ideal male archetype Brahmin and Kshatriya, mamayivskyy image-monk archetype primary religious and warrior-patriot. It is this archetype implementation ensures compliance with the eternal mission of Ukraine - narodu- »shield» in Europe.

References 1. S. Borodavkin Orchestra in the opera BM Liatoshynsky »Golden Ring» / S. Borodavkin // Ukrainian musicology, scientific-method. Coll. - K.: NMAU. Tchaikovsky, 2011. - Vol. 37. - S. 276-292. 2. Vakalyuk PV role pipes in the symphonic works of Boris and Stanislav Liatoshynsky Liudkevych: Author. Thesis. ... Candidate. Art. : 17.00.03 - »Art of Music» / PV Vakalyuk; Lviv. nat. muses. Acad. them. Lysenko. - L., 2009. -17 p. 3. Veles book: spiritual testament ancestors: [rhythmic Ukrainian translation. language, research and B. Yatsenko review]. - Ed. 2. - C.: Velez, 2006. - 256 p. 4. Veselovska G. Life stage work: the history of opera pershovtilennya Lyatoshynsky »Gold hoop on the novel by Ivan Franko» Zahar Berkut »[electronic resource] / G. Veselovska // Visn. Lviv. Univ. A series of art. - 2006 - Vol. 6. - P. 47-54. - Access mode : http://lnu.edu.ua/faculty/web_kultura/Visnyk_Cult-Arts/2006_06/Veselovska.pdf 5. Zagaykevych M. BN Lyatoshynskyy and muzыkalnaya frankyana / M. Zagaykevych // BN Lyatoshynskyy: Sat. Art. - K.: Music. Ukraine, 1987. - P. 20-25. 6. Zaporozhets NB Lyatoshynskyy AN / AN Zaporozhets. - Moscow: Sov. Composite., 1960. - 174 p. 7. Kozarenko Musical language O. B. Liatoshynsky stratification in terms of national Music and semiotic process / O. Kozarenko // Ukrainian musicology. - K.: Music. Ukraine, 2000 - Vol. 29. - P. 116-124. 8. M. shock Symfonyy B. Lyatoshynskoho: era, kollyzyy, dramaturhyya Investigation / M. shock. - K.: Music. Ukraine, 1990. - 134 c. 9. IZ history Malozёmova A. Formation ukraynskoy Soviet opera / A // Malozёmova Muzыkalnaya culture Ukrainian SSR: Sat. Art. / [Comp. E. Alekseenko, I. Lyashenko]. - M. Music, 1979. - P. 71-85. 10. A. Malozёmova Opernoe Creativity Lyatoshynskoho BN / A // Boris Nikolayevich Malozёmova Lyatoshynskyy: Sat. Art. / [Comp. M. shock]. - K.: Music. Ukraine, 1987. - P. 63-73. 11. Morenets VP National ways of poetic modernism of the first half of the twentieth century. : Ukraine and Poland / V. Morenets. - K: Fundamentals, 2001. - 327 p. 12. M. Novakovič Canon Ukrainian musical modernism (the works of Boris Liatoshynsky): monograph / M. Novakovič. - Lutsk: Stronghold, 2012. - 168 p. 13. S. Pavlyshyn natsyonalnaya heroic drama / C Pavlyshyn // Sov. Music. - 1970. - № 8. - S. 36-38. 14. Boris V. Samokhvalov Liatoshynsky [1895-1968] / V. Samokhvalov. - Kind. 2. - C.: Music. Ukraine, 1974. - 47 p. 15. V. Samokhvalov Chertы musical thinking B. Lyatoshynskoho / V. Samokhvalov. - K.: Music. Ukraine, 1970. - 279 p. 16. V. Samokhvalov Chertы symfonyzma B. Lyatoshynskoho / V. Samokhvalov. - K.: Music. Ukraine, 1977. - 169 p. 17. Svidzynskyy AV Synerґetychna concept of culture / AV Svidzynskyy. - Luck OJSC »Wolin. region. printing », 2009. - 696 p. 18. Word of plъku YhorevЂ, Igor sыna Svyatъslavlya, grandson Olgova [electronic resource] // Miscellany: History of Ukraine IX-XVIII centuries. Primary Sources and Interpretations. - Access mode : http://litopys.org.ua/links/inslovo.htm 19. Tyholoz Ivan Franko B. - doctor universalis (secret success) [electronic resource] / B. Tyholoz // Science. t-PA them. Taras Shevchenko. - Access: http://ntsh.org/content/ivan-franko-doctor-universalis 20. I. Franko Zakhar Berkut / IY Franco Franco // I. Coll. op. : In 50 vol. 16. TV / I. Franco. - K.: Science. opinion, 1978. - S. 7-154. 21. I. Franko frankly letter to the Ukrainian Galician young people / IY Franco Franco // I. Coll. op. : In 50 v. T. 45 / IY Franco. - K.: Science. opinion, 1986. - P. 401-409.

Summary We consider the embodiment of self-organization in the opera »Golden Ring» on the novel by Ivan Franko »Zakhar Berkut». Are Lyatoshynsky parallel myth of the »Rings des Nibelungen» R. Wagner. Grounded inseparability Opera ideas embodied in the individual’s death, and redemption universal love and spiritual (Dazhbog) and public (hoop) wins. Keywords: national idea, social self-organization, literary and musical discourse, mythology, musical modernism.

Summary Draganchuk V. The Unmastered lessons of European history or Ukrainian national idea of organizations of are in literary – musical diskyrs (»Zahar is golden of Eagle» And. (»Zahar is golden Eagle» And. Franco – »Gold Hoop» of B. Lyatoshinsky) We consider the embodiment of self-organization in the opera »Golden Ring» on the novel by Ivan Franko »Zahar Berkut». Are parallels myth Lyatoshynsky the »Rings des Nibelungen» by Richard Wagner. Grounded inseparability ideas embodied in the opera individual death, redemption and love and universal spiritual (Dazhbog) and public (hoop) wins. Analyzes the importance of creativity for Franko Ukrainian, especially – East society especially under current conditions to determine their own system of action. Situated in the geographical center of Europe, Ukraine has actually become part of non-European space, but today, because of mental changes in the European part of Russia, winning back our right to be the eastern borders of Europe and not from Western Urals. I mentioned the work of Ivan Franko was the germ to explore the literary heritage of the artist in Dnieper Ukraine, for the unity of the nation symbolic chain where each ring is firmly holds the following, which is Ukrainian for »public order», and in fact – the national idea of self- organization. This main impulse relays Franko B. Liatoshynsky in literary and musical discourse. Symbol self – okutyy silver chain, on which »our rest and our spirit-guardian Blessings» in the opera representatives as »Golden Ring», »Golden Circle» Dazhboga that is a sign and higher spiritual power and unity of the community. Among the artists Ukrainian composer one of the first appeals to Middle Ages, after the collection »Quiver» (1925) J. Daragan, and will return to this later period of creativity in the last five, »Slavic» Symphony (1955-1966 gg.), which uses two epic themes from the collection K. Danilov. With two laps – unbroken chain of light divine-public character and »human» ring of golden-green beryl – the first is the spokesman of the main ideas of the novel and the opera, called his »honor», and the second value is not special, and its role remains episodic. So he »set off» and reinforces the importance of symbols »golden hoop chain». «Golden Ring» – a special mythological continuum that enters the national idea of social selforganization and patriotic victory, Frank expressed in the wide world music space. What made the composer? The idea of »gold hoop» strengthened mythological, literary artifact Brahmin facet Franko in pathos and heroic, kshatriyskomu context volitional mental field actualized Gran tragic; filed Brahmanic-kshatriysku semantics Opera triumphantly in-apofeoznomu sense as ransom-sacrifice – the life of his son as a donation on the altar of victory, for the honor of the community, whose mission – protection for the peoples of the Carpathian passes the Tatar-Mongol invasion. This gave impetus Master of modernist literary and musical discourse... This momentum is extremely relevant today. Reflections on the plot of Frank and his life in art discourse leads to the conclusion that Zakhar Berkut – a perfect artistic expression Ukrainian skovorodynskoho male archetype Brahmin and Kshatriya, mamayivskyy image-monk archetype primary religious and warrior-patriot. It is this archetype implementation ensures the implementation eternal mission Ukraine – narodu – »shield» in Europe – emphasizes the end of the article the author. Key words: national idea, social self-organization, literary and musical discourse, mythology, musical modernism, Ukrainian culture, composers creativity, intercultural contacts, Franko, B. Lyatoshynskyy, Wagner, world classics, opera, myth-making.

Abstract Draganchuk V.M. Neusvoennыe evropeyskoy history lessons or Ukrainskaia natsyonalnaya The idea of self-organization in literary and musical discourse »Zahar Berkut» I. Franko - »Golden Hoop» B. Lyatoshynskoho Rassmatryvaetsya embodiment of ideas self-organization in the opera »Golden hoop» on lead I. Franko »Zahar Berkut». Provodyatsya myfotvorchestva B. Parallel Lyatoshynskoho with »colic nybelunha »Wagner. Obosnovыvaetsya nerazdelnost voploschёnnыh in operas ideas yndyvydualnыh-yskuplenyya death and love, as well as spiritual vseobschey (Dazhbog) and obschestvennoy (hoop) Pobeda. Keywords: natsyonalnaya Idea, to community self-organization, lyteraturno- muzыkalnыy discourse, Mythology, muzыkalnыy Modernism. Received 03/10/2014

UDC 792.82 S.M. Afanasyev

NOVEL »THE LADY WITH THE CAMELLIAS» BY ALEXANDRE DUMAS: DOMESTIC FOREIGN EXPERIENCE AND IMPLEMENTATION LITERARY CLASSIC BALLET STAGE

Formulation of the problem. The novel »The Lady of the Camellias» - one of the most famous literary works famous French playwright and writer - Alexandre Dumas fils. Written in 1848, it tells the tragic love story of the French bourgeoisie A. Duval and courtesans M. Gauthier. Prototypes of the main characters were the writer himself and his mistress, the famous Parisian loretka M. Duplessis (according to the documents - A. Plessis). In his creation A. Dumas Jr. set a goal reverse current public opinion about the selfish and mercenary nature of women by fate lost their moral purity, as did the heroine of his novel ideal of loving sacrifice to women. Zaktsentuyemo that psychological drama »The Lady of the Camellias» was the inspiration for many theatrical personalities - composers, directors, writers. For the first time this lyrical story J. interested musician. Verdi, resulting in a one of the world’s most popular operas - »La Traviata». Almost a century later in the work of French literature classic ballet replied: choreographer F. Ashton, together with the Royal Ballet troupe staged the UK play »Margarita and Armand» (1963). Fifteen years later, a new interpretation of the dance famous love story introduced viewers Neumeier D. (1978). Since the beginning of the twenty-first century. Interest Alexander Dumas to the drama not only not diminished, but increased, to adapt the novel to the ballet stage A. appealed Maki (Japan), D. Bryantsev, A. Polubentsev (Russia), A. Rekhviashvili (Ukraine). This interest, according to theater critics, related primarily to the new »Vintage fashion for ballet with beautiful and touching history »[4]. And »The Lady of the Camellias», of course, lies in Within such a fashion. The aim of this paper was the comparative analysis of the characteristics choreographer interpretation, musical and artistic design of one of the greatest works of Alexander Dumas - »Lady with Camellias »- in the context of world and national ballet practice. Relevance of the study due to the need of deep study experience staging of literary classics and then display the results in historical works art-issues. The analysis of scientific sources shows that Alexander Dumas novel »The Lady of the Camellias» in its various ballet read repeatedly discussed domestic (Yuri Vorobyov, M. Hrapachova) [1; 38], [12] and foreign (A. Galayda, A. Hubaydullina, A. Kadyrov, N. Kolesov, N. Krylov, KA Matveev, Ivan Radionova, Yu Shatilova, P. Yaschenkov) [2-3], [6-10], [13-14] theater reviewers ballet critics, art historians and biographers of famous dancers (A. Dolfyus, D. Solway) [4], [11]. Presenting main material. The first ballet version of the novel A. Dumas Jr. »Lady with Camellias »was staged in Britain in 1963 on the stage of the Royal Theatre in Kovent- Garden. Author choreography - F. Ashton - called his performance »Margarita and Armand» and invited starring former Soviet ballet school pupil - R. Nuryeyeva and legendary soloist British ballet - M. Fontaine (stage designer - S. Beaton). Taking the musical basis sonata in B minor, Liszt, F. Ashton built drama performances in the form of memoirs on his deathbed, in a series of dream-like retrospective scenes flashing the first meeting of the main characters, the days of love, and break their last goodbye. According to biographer Robert D. Nuryeyeva Solway, impressed celebrated scene where Armand in a fit of anger threw Margarita wad of money in his face. Embodied on stage fragile and painful courtesan, M. Fontaine at the same time, gave the impression of not desperate victims and vulnerable acted symbol »Feminine woman», which she considered a dancer, for example, M. Monroe [11; 282]. According to contemporary ballet »Margarita and Armand» was the crown duo work Nuriyev- Fontaine and his huge success further strengthened the partnership dancers. Specially designed for their talent and individuality, ballet so closely associated with the two stars, that in the future it to anyone never allowed to do. 1978 in Stuttgart was first shown a new version of the ballet performance »The Lady of the Camellias» staged by artistic director of the Hamburg Ballet - J. Neumeier. Musical setting the play was a compilation of works by Chopin. As in the previous case of drama performances was based on the memoirs of A. Dyuvalya- Jr., who lamented the lost love in the time of the sale of his beloved property. »In this History does not matter, why die Margarita - commented J. Neumeier own understanding literary work - TB or other terminal illness. Before us is a woman, believe that life consists of material things - jewelry, jewelry, but suddenly suddenly realized that sincere feeling for man contain more content and meaning ... »[13]. The foundation made three big plays duets. The first one is dedicated since recognition love. Another (the scene in the village) - the apotheosis of happiness protagonists, their love without deception. Last choreographic tandem (visit to Margaret Armani - the most famous and most often running in concerts) - was, according to some reviewers theater, ballet masterpiece of psychology staged ingenuity. It ‘dancers body truly talk about changing emotions: Men feeling as if by magic, changing from cold to hot Exclusion desire for women - shame to cry erotic explosion ... »[9]. J. Neumeier to dance and pantomime is not just merge into one solid plastic flow; They are often quite literal embodiment literary values. For example, the phrase »She went hand» has the following choreographic reflection: the main party performer floats the air in support of several partners. »Choreographer plays weight parts, ensuring reliability in all - manner of wearing clothes of XIX century. to the allegedly negligent, but in fact carefully thoughtful turn of the head, arms and shoulders. The most surprising - is it just a choreographer can make body speak very specific way, without utryruvannya facial expressions and gestures, only by sophisticated dance combinations and precision plastic accents»[9]. Interestingly, the director was able to find not only the authenticity of feelings. For example, at the request of J. Neumeier Ballet in the staging of the original furniture used Nineteenth century. Purchased at the Paris flea markets (set designer J. Rose). Unique is the fact that until premiere was sewn over 320 historical costumes and prepared (for individual sketches) a huge amount of stage jewelry. With this volume of Theatre clothing, choreographer, and yet, almost completely abandoned the scenery, and all of Ballet took place against a background of dark curtains rear scene. Originality of thinking different choreographer of the ballet »The Lady with Camellias », carried out in May 2000 in the Music Theater. Stanislavsky and Nemyrovycha- Danchenko Moscow Ballet Company artistic director - D. Bryantsev. Musical setting Samples were ballet Verdi opera »La Traviata» in handling modern Russian composer V. Korchagin, «which added to the sentimentality of the XIX century satirical ominous notes and knock XX metronome (heart) at the beginning and end of the ballet »[8]. No less original was set designer B. Leventhal performances: in the first act he limited stage space mirrors, the second - backdrop painted in the style of »Water Lily» Monet; rural scenes dressed actors in stage suits white tones, the ball - in ball gowns and tailcoats, and in the final formulation (probably making emphasis on the fact that masks dropped characters) - in red jackets, corsets and garters for stockings. According to many reviewers (N. Kolesov, N. Krylov, T. Kuznetsova, O. Gubaidullin, Ivan Rodionov) »The Lady of the Camellias» D. Bryantsev - came purely independent copyright work, only distantly related to the famous story of Alexander Dumas. Take, for example, by the fact that the heroine The play was presented not the unfortunate victim of circumstances and disease, a cynical and vicious a product of their environment, a kind M. Lesko beginning of the XXI century. [7]. In addition, the protagonists people in the play D. Bryantsev only three: Armand, Marguerite and her all-powerful patron Bald (in Premiere dancers: N. Ledovskikh, G. Smilevskyy A. Domashev). Men, according to choreographer, two poles symbolized the soul of the heroine: one - the desire for a large and clean Love, on the other - vice rough authorities [7]. Despite best efforts, this ballet version of »Lady of the Camellias» was not recognized successful. Theatrical analysts wrote about her: »Margaret is torn between angel and demon Armand Bald, suffers, groans, experiences and slowly fades away. Armand and Bald enter the game on schedule [...]. Arman, like the Prince of classical ballet, tends to melodrama. Bald villain - the grotesque [...]. In his best moments of the play characters like Pierrot, Harlequin and Columbine who try submit comedy. But romance prevails, and it played the same Arman and Margaret ... »[3]. In 2007 a new ballet interpretation of the novel A. Dumas made artistic director Ballet Company New National Theatre Tokyo - A. Maki. Despite the fact that the name setting selected eponymous literary work, dramatic ballet performance basis was the opera »La Traviata»: plot outline, the relationship of the characters and scenes very accurate distribution answered opera libretto f.-m. Piave; was maintained even push dance scene transformed into a separate ballet divertissement. However, the Italian classic music John. Verdi replaced the works of Berlioz [2]. Making plans, A. Maki tried to carefully follow the classic ballet canon. For example most predecessors, who turned to the source, choreographer shared his performance four paintings (Bal. Country estate. Masquerade. Death Margarita); crowd scenes built on the principle of divertissement XIX century., from which the plot acquired ballet a degree of fabulousness, typical of the old classics. Wonderful scenography and costumes were one of the most expensive European experts in this area - L. Spinatelli. «For people not experienced and not burdened with a load of ballet knowledge - characterized retsezenty setting - this ballet melodrama even exciting, because made all the laws of the genre. Independent insert here unless proved too prolonged dyvertysmentne accumulation dancing masquerade in the second action. It can suddenly find various exotic characters, such as gypsy or Araba ... »[14]. Another ballet version of »Lady of the Camellias» was presented in June 2010 in Tatar Academic Opera and Ballet Theatre. M. Jalil staff directors of St. Petersburg: choreographer - A. Polubentsev, conductor - A. Anihanov, scenographers - Kustova IV and V. Samokhin (Kazan). As the music plays bases used excerpts from operas by Verdi »La Traviata» »Luisa Miller», »La forza del destino», »Othello», »Alzira» »Robbers» and others. [6]. A. Polubentsev author was not only dance, but also the libretto, which he brought to the primordial - Book famous French writer. »Basis dramatic ballet if not perfect, then, in any case, nice built - wrote about the work of choreographer criticism. - Polubentsev even introduced it is not in A. Dumas and Verdi character - a beggar, which runs through the show, appearing before the heroes in the most important moments of their life as a kind of ominous reminder fate, and giving a narrative misterialnist ... »[5]. According to reviewers, A. Polubentseva ballet was designed in the tradition of great scene performances using classical dance forms and elements of modern dance. In it contains and expressive duets and monologues, and variations and large crowd scenes. The main parties in the prime days performed leading soloists of the troupe Theatre. M. Jalil A. Surodyeyeva, A. Elagin, G. Kudinov, Yuri Pozdnyakov, R. Savdenov, Yu Ponomareva A. Steinberg et al. In June 2014, 146 at the end of the theater season, »Lady of the Camellias» was first delivered at the National Opera of Ukraine. Taras Shevchenko. The structure of creative group initiated a musical play in two acts with a prologue included A. Rekhviashvili (artistic head of the ballet company), A. Cormorant (conductor), N. Kucher (set designer) and others. One of the original features of the play became a kind of summary of the libretto. Him co-authors (A. Rekhviashvili, A. Cormorant) on the one hand - kept plot immortal creations French writer, on the other - moved away from the images of literary heroes, reflecting on stage events real love story Parisian courtesan M. Duplessis and A. Dumas molodsheho. »We do not set a task to retell the story of the book. M. Duplessis, M. Gautier, La Traviata - as if it not called - for us it is primarily female embodiment of true love ... »- said in Staging personal Beseda publikatsiyi1 the author. According to the choreographer A. Rekhviashvili idea to make one of the brightest stage literary works of the Romantic period, it quite some quite long: nearly twelve years. »Make me this ballet desyatelittyam before - he commented - I doubt that he would have received positive assessment and was my great creative success. I believe that there would be very superficial performance, another legend of popular melodrama ...». However, one can say that the approach to the premiere of »Lady of the Camellias» was easy. Firstly, for the National Opera ballet troupe of Ukraine the process of implementation performance was rather unstable through violent political turmoil in the country. »I have long doubted and repeatedly internally refused design - recalls choreographer after the premiere. - As a result, all major dance scenes involving the corps de ballet was delivered almost a month before the premiere show ... «3. Second, the implementation of theatrical performances largely prevented enormous lack of funds (for example, of stage costumes made just before the third the show!). It should be noted that the ballet »The Lady of the Camellias» directed by A. Rekhviashvili, as well as in its predecessors has basically the whole musical form. It consists of separate fragments (21), most of which - excerpts from the symphonies of Beethoven (13), the rest belongs the creative genius of Brahms, Elgar E., J. Pachelbel, I. Stravinsky, G. Faure. A. cormorants as conductor and co-productions, managed to successfully pick overall by emotional fullness musical material with amazing accuracy vidzerkalyuvav not only the content of the libretto, but also helped treat the performers, and the audience perceive, choreographer conceived images. Could not please pryhilnykiv ballet truly «light» final Stage performances on the music »Requiem» by G. Faure: the translucent cloak with a long train in the form petals, viddalyalasya main character from the viewer toward the camellias blooming garden, where, according to the authors performances, hovering lost souls of all women. How can we ensure directors tried to avoid a tragic outcome. On the contrary, They sing of life, eternal love, the embodiment of which is the main character of the play, embodied moving and lyrical A. Shevchenko and N. Labeznykovoyu (also involved in the play known Action: Honored Artist of Ukraine - Yuri Kulik, S. Sidorsky, D. Nedak, A. Shapoval, G. sting; Soloists - Yuri Moskalenko, J. Vania, G. Petrovsky, V. Ivaschenko, etc.). Conclusions and Perspectives for further development. Material summary above, can note that all interpretations of ballet »Lady of the Camellias» by Alexander Dumas classical dance technique used (in some cases with elements of modern Choreography). The basis of performances put strong dramatic component, which primarily required skillful execution of the main parties. The decoration performances included not only use of scenery and specific stage props, but also computer graphics and various effects. The lack of a holistic piece of music written specifically for ballet performances, pushed each choreographers (F. Ashton, J. Neumeier, J. Bryantsev, A. Polubentsev, A. Rekhviashvili) apply to the classical heritage Verdi, Chopin, Liszt, Beethoven, Berlioz, Stravinsky and other composers. According to our deep conviction, the novel »The Lady of the Camellias» will serve as a source inspiration for choreographers from different generations, styles and genres, so that the story of Marguerite and Armand - the theme of love and death - in art immortal. Fixing and critical assessment of this world experience ballet master requires further reflection of the results obtained in monographic and collective art history studies on the history and choreography development of modern ballet. Notices 1 From the conversation with A. Rekhviashvili July 15, 2014 2 Ibid. 3 Ibid.

References 1. Vorobeva haven courtesan Yu / Yu Vorobeva // Dance in Ukraine and the world. - 2014. - № 2. 2. A. Galayda Kabuki for puantov [Electronic resource] / A. Galayda // Rossiyskaya Gazeta. - 2009 - 22 sept. - Access: http://www.rg.ru/2009/09/22 3. Gubaidullin E. And mertvыe with braids standing ... [Electronic resource] / E. Gubaidullin // Proceedings. - 2000 - 31 May. - Access: http://www.smotr.ru/pressa 4. A. Rudolf Nureyev Dolfyus. Neystovыy genes / A Dolfyus. - Moscow: Ripol Klassik, 2010. - 494 pp. 5. History damы one else with kamelyyamy [Electronic resource] // Time and money. - 2010. - June 22. - Access: http://www.e-vid.ru/index-m-192. 6. Kadыrova A. Emu zakazaly »lady with kamelyyamy» [Electronic resource] / A. Kadыrova // Evening Kazan. - 2010 - 23 apr. - Access: http://old.evening-kazan.ru/article 7. N. Kolesov points noisy environments Naughty ... [Electronic resource] / N. Kolesov // Evening Moscow. - 2000 - 6 June. - Access: http://www.smotr.ru/pressa 8. M. Krylov lady with hearse [Electronic resource] / M. Krylov // Nezavisimaya Gazeta. - 2000 - 2 May. - Access: http://www.smotr.ru/pressa 9. K. Matveev Tuberculosis and blednost [Electronic resource] / KA Matveev // Herald. - 2014 - March 21. - Access: http://www.gazeta.ru/culture/2014 10. Rodyonova I. housewife in krasnыh Footwear [Electronic resource] / AI // Rodyonova today. - 2000 - 31 May. - Access: http://www.smotr.ru/pressa 11. D. Rudolph Nureyev Soluэy: On stage and in life / AD Soluэy. - Moscow: Poligraf Center, 2001. - 591 pp. 12. Hrapachova M. Drama with kamelyyamy [Electronic resource] / M. Hrapachova // Capital. - 2014 - 27 June. - Access: http://www.capital.ua/ru/time/23612 13. My interpretation Shatilova Yu ‘s Damы kamelyyamy »at the Bolshoi Theater presented German choreographer John Neumayer [Electronic resource] / Yu Shatilova. - 2014 - 21 March. - Mode Access: http://www.1tv.ru/news/ other/254674 P. 14. Yaschenkov lady with kamelyyamy IZ country voshodyascheho the sun [Electronic resource] / P. Yaschenkov // Moskovskiy Komsomolets. - 2009 - 21 sept. - Access: http://www.mk.ru/culture/theatre/article/2009

Summary The article is devoted to the analysis of international experience in the implementation of a ballet stage the most famous works of French literature - »Lady of the Camellias» by Alexander Dumas junior. Considered artistic heritage of renowned choreographers such as F. Ashton and J. Neumeier. Studied creative Achievements horeorafiv new generation - A. Rekhviashvili, David Bryantsev, A. Polubentseva, A. Maki. Tags: Alexander Dumas son, »Lady of the Camellias» ballet drama, choreography performance, classic dance.

Summary Afanasyev S. Alexander Dumas’ novel »The Lady of the Camellias»: national and foreign experience of embodiment of the world famous literary classics on the ballet stage This article analyzes the implementation of international experience in ballet stage productions of one of the most famous works of French literature – «Lady of the Camellias» by Alexander Dumas junior. Written in 1848, it tells the tragic love story of the French bourgeoisie A. Duval and courtesans M. Gauthier. In his creation A. Dumas Jr. set out to reverse the current public opinion about the selfish and mercenary nature of women fated lost moral purity, as did the heroine of his novel to sacrifice the ideal of loving women. As you know, the psychological drama «The Lady of the Camellias» was the inspiration for many theatrical personalities – composers, directors, writers. For the first time this lyrical story interested Italian musician John. Verdi, resulting in a one of the world’s most popular operas – «La Traviata». Almost a century on the classic work of French literature responded ballet: choreographer F. Ashton, together with the Royal Ballet troupe Britain staged the play »Margaret and Armand» (1963). Fifteen years later, a new dance interpretation of the famous love story introduced viewers Neumeier D. (1978). Since the beginning of the twenty-first century interest in drama Alexander Dumas not only not diminished, but increased, to adapt the novel on a ballet stage turned many notable artists: A. Maki (Japan), D. Bryantsev, A. Polubentsev (Russia), A. Rekhviashvili (Ukraine). This interest, according to theater critics, related primarily to the new »vintage fashion for ballet with beautiful and touching history». And »The Lady of the Camellias» certainly lies within such a fashion. Considered artistic heritage of famous choreographers like Ashton F. and D. Neumeier. Studied creative achievements of a new generation of choreographers – A. Rekhviashvili, D. Bryantsev, A. Polubentseva, A. Maki. As a result of his research the author emphasizes that all interpretations of ballet »Lady of the Camellias» by Alexander Dumas used the technique of classical dance (in some cases with elements of modern dance). The basis of performances put strong dramatic component, which primarily required skillful execution of the main parties. The decoration performances included not only the use of scenery and specific stage props, but also computer graphics and various effects. The lack of a holistic piece of music written specifically for ballet performances, pushed each choreographers (F. Ashton, J. Neumeier, J. Bryantsev, A. Polubentsev, A. Rekhviashvili) apply to the classical heritage Verdi, Chopin, F. Liszt, Beethoven, Berlioz, Stravinsky and other composers. Virtually all performances is an example of the bright symbols of search images, the subject of which gives many options for interpretation. According to our deep conviction, the author stresses, the novel »The Lady of the Camellias» will serve as a source of inspiration for choreographers from different generations, styles and genres, so that the story of Marguerite and Armand – the theme of love and death – in art immortal. Fixing and critical assessment of this world experience of ballet master requires further display of the results in monographic and collective art history studies on the history of modern dance and ballet. Key words: Alexander Dumas son, »Lady of the Camellias» ballet drama, choreographic performance, classical dance, a new vision, artistic interpretation, classical performance, creativity, domestic scene, Ukrainian and foreign choreographers, world heritage, art of dance.

Abstract S. N Afanasiev The novel «The Lady with kamelyyamy»: domestic and foreign Experience Literary Classics embodiment in baletnoy scene Article posvyaschena analysis Experience Creating Peace in one scene baletnoy IZ yzvestneyshyh proyzvedenyy frantsuzskoy literature - »The Lady with kamelyyamy» A. Dumas – Jr.. Rassmotrenы hudozhestvennыe such achievements of famous baletmeysterov, As and F. Ashton D. Noymayэr. Creativity of research horeohrafov new generation - A. Rehvyashvyly, Bryantsev D., A. Polubentseva, A. Maki. Keywords: Alexander Dumas Son, »Lady with kamelyyamy» baletnaya drama, horeohrafycheskyy performance, klassycheskyy dance. Received 10/22/2014

UDC 784.5: 785.11.04: [821.161.2] I.S. Eltek

MUSIC INTERPRETATION OF POETRY IVAN FRANKO CREATIVITY VICTOR KAMINSKY

The multi-faceted and highly controversial figure Franko for centuries does not exhaust its potential and yet, despite great selection of scientific studies on the artist and his work, still remains in the plane of ambiguity both in terms of interpretation, and on full comprehension. Thanks to substantial update the system of musical thought in the works of Ukrainian composers of the late XX - early XXI century. associated with diverse compositional techniques and dialogue between different stylistic eras, there are brand new musical poetry reading Franko. Fracture artistic consciousness associated with rethinking the aesthetic orientations and aspirations fit Ukrainian culture in the Western European context, has directed the creative genesis of Lviv composer school late XX - early XXI century. searching for a modern interpretation Franko words that would significantly different from most »Soviet stamps» or so-called prymityzovanyh «Patriotic» templates. Among the younger generation of modern Lviv composers whose work formed in 1970, special attention was paid Frankove poetic word composer, winner National Prize of Ukraine. Shevchenko - Viktor Kaminsky. Throughout the creative way he not only consistently drawn to the philosophical Franko National universals of poetry, but also trying to implement different facets of creative genius Ukrainian Prophet, using every new musical forms and intonation «codes». Individual style and the composer’s creative activities can be correlated with the precepts »Egalitarianism» of modern art. L. Kyyanovska shows the »egalitarianism» as a »special ideological basis of artistic expression that provides balance between elite (high, academic) style and massive democratically statement that he is able to understand the broader audience. Meanwhile, an art that appeals to tradition, enters into dialogue with him and transforms in modern cultural dimensions are different, often contradictory approaches and levels of consciousness »[5; 381]. A wide range of musicological issues related to songs on poems by Ivan Franko thoroughly described in the writings of musicological S.Lyudkevych, M. Zagaykevych, S. Pavlyshyn Kyyanovskoyi L., A. Tereshchenko; some relevant aspects are considered in music frankiany A. Kozarenko quests, L. Yarosevych, L. Parkhomenko, J. Yakub’yaka. However, the question of Music frankiany late XX - early XXI century. found mostly scientific fragmentary implementation above these works, among which more or less consistently for coverage of the topic addressed L. Kyyanovska. The study of the spectrum of philosophical poetry of images and symbols Ivan Franko posluhovuvalasya literary works by J. Gritsak [2] O. Zabuzhko [3] J. Harasymiv [1] B. Schurata [8] and others. Thus, the basis for thorough coverage put the article in question is structural hermeneutic analysis of the literary source and track key aspects composer often ambiguous interpretation semantics philosophical concepts Franko poetry - from primitivism to a complete distortion. W. Kaminsky in his refined reading and understanding the nature Franka- thinker took part the path thattook Frankiana Galician music of the twentieth century .: symphonic poem (S. Lyudkevych) - through the songs of pop and song (A. Kos-Anatolskyi) to solemn cantata, which has become the most urgent reflection today the Ukrainian nation. Important in this context, there is evidence of the composer: »I can not admire how French all the time in solving many historical, ethical, spiritual and political problems remains relevant. Reading his constantly find myself thinking that this text was written as if not a hundred or a hundred and ten years ago, and like yesterday »[5; 386]. At the time testing different techniques and methods stylitychnyh V. Kaminsky first drawn the creative legacy of Ivan Franko and writing program symphonic poem »In Memory Kamenyar», which was his graduation thesis on the Lviv Conservatory in 1977 already in the student composer work skillfully appealed to the »eternal revolutionary» Lysenko, and the poem »Moses» S.Lyudkevych, allusions to themes which are encrypted in the thematic material of the poem. Large-scale work for Symphony Orchestra outlined halo style piznoromantychnoho S.Lyudkevych as consistent and thoughtful interpreter of philosophical symbolism Franko. A few years later (in 1983) a musical Frankiana V. Kaminsky replenished once two Solo Singing the words of the poet - »Green sycamore» and »Song and Work». This period in the composer marked special interest to pop music and popular at the time – it Folk invariant. Support for the genre of the song »Green sycamore» composer used stylistic model starohalytskoyi elegy. Exquisite lyrics, filigree end sighing phrases folk-song perven combined with relief areas and romanticized imagery cantilena turnovers - those elements of musical expression of the composer who embodied a sophisticated range of colors intymno- sensual palette, poetry Franko. »Song and Work» - a work of epic-narrative elements lengthy Dumnova chant, which focuses on the prevailing ethical side of this poetry. After three years of heritage V. Kaminsky enriched this gem like »Oh worlds misyachenku », whose melody and words recorded Franko, and composer of the song embodied for processing baritone with accompaniment. Diatonic folk tunes ranging pentachord combined with luxurious Impressionist Colours piano accompaniment creates an unforgettable effect is charming Ukrainian night. An interesting finding of the composer is reading poetry »divine in the human spirit», which composer made in 2001 in the best traditions of Ukrainian Sacred Music V. Kaminsky appeals psalms and cants to the seventeenth century. Principle strophic construction, the deliberate avoidance of repetition, jewelry and decorative melodic elegance yubilyatsiy, as metrorythmic pereminnist base imaginative visions and the prevalence of diatonic chants - embody the so-called dialogue between cultures archaic modernity and once again underscore the «timeless» dimension Franko poetry. The top musical Frankiany V. Kaminsky is undoubtedly the cantata »Blessed is time comes », written by the composer in 2006 for the 150th anniversary of the great poet and is, in fact, »Last word» in Ukrainian music culture on the interpretation Franko words. Outlining the structural and hermeneutic analysis work, try to understand the individual composer’s intention regarding the interpretation of poetry masons, emphasizing the most significant, with In our view, positions. One-deployed form of the cantata is based on continuous internal alternation of contrasting episodes and various modifications executive structure that occur on the level of individual groups of orchestra, chorus and soloists. Composer successfully operate their various combinations, as each of them has a specific meaning, associated with ideological and symbolist plan author. V. Kaminsky chose several collections of poems from »Ukraine», »Freckles» and some poetry that story became the basis for the libretto of V. Vovkun. Cantata «Grace’s time comes» begins with a solemn and majestic orchestral introduction, which consists of alternating intonation and three thematic »golden grain» that gradually germinate at all the key themes of the cantata. The first motif includes invocatory »code» that amplifies progress to a quart and in its further development inspires some allusion to the «eternal revolutionary» Lysenko. Underlying second motive laid smooth melodic movement that slowly »grows» thus capturing more and more space. This structure is dictated by its thematic tunes the use of which will be discussed later. The third motive - is distinctively rhythmic support for Sixteen duration, dynamics and activates the general forward movement of the whole work. These three components joining elements reflect on the three principles of the poetic text: formidable spirit, strong-willed principle, the expansion and strengthening of forces for future struggles. As in the orchestral introduction, and in composer work around the widely used simulation techniques with a gradual introduction of polyphony or »dialogue» votes, creating a lace-transparent orchestral canvas. Begin the main part marks the entry of the choir »Rozvyvaysya you high dube» in «Shelestlyvomu» background strings and woodwinds, accompanied the group. This section is based on intensive development of the second motive in tonal structure which, as a drop of water, composer reflected the content of poetic lines. It is noteworthy that in all sections where a vzhyvatymetsya symbolic appeal to the Ukrainian people »rozvyvaysya» will face in this particular motif a variety of transformation. Another approach is to emphasize the composer or shadowing iconic certain stanzas means orchestral colors. Thus, the words »spring fair will» come horn, the much enhance the effect of this statement. Go to the next section cantata figuratively shifted toward dysonantnyh gloomy sounds that move in an upward chromatic number. A typical drum »fractional» rhythm and almost »frozen» in place of melody only deepens the image of the »dark» forces and thunderstorms that hangs over Ukraine, which froze in anticipation spring awakening. We emphasize that a strong burden of meaningful episode where a process semantic unity of music and poetry before us the picture of «terrible» premonitions, predictions of both artists, who represented the composer appeals to today Ukrainian state. This picture is supported by two waves rise hromatyzovanymy that leading to heightened-dangling chords that mimic the first thunder. The image of thunderstorms reinforced invitingly »Thunders!» in chorus replicas that kreschenduyuchomu tutti orchestra leads to the next section »Grace’s time comes.» The main theme of this section is characterized by progressive downward movement minor theme that his sad image- filling thematic contrasts sharply with the very idea of »grace time» thus exacerbating composer realization that its arrival will not be so cheerful and easy. Mini orchestral interlude in heightened tones to dark-forte reaches its climax the point from which the musical idea takes off at breakneck speed down the new choral section »disintegrate the bands vikoviyi, wake up people. » One of the brightest composers intentions in understanding Franko »will» is appearance after »nepobidzhena evil enemies of Ukraine will rise» grotesque, ironic episodes, which genre proportion resembles a piece burlesque march. A striking contrast is the next light section that appears on the words »Arise nice to have Ukraine - happy and free». Extraordinary elegance and transparency of orchestral fabric and warm shaped soft tones depict areas almost perfect image of national awakening. And suddenly again this harmonically stable, enlightened »idyll» breaks waiting burleskno-marching pointed item. However, it quickly loses momentum and the foreground light theme, leading to the climactic zone where the word »glorious, glorious Ukraine» characteristic Group orchestra dynamically enhances the moment of solemn exaltation. Thanks to musical interpretation special prayer importance of the word »disappear limits that pomezhuvaly between strangers a », understood as the main cornerstone of Ukrainian unity. This »quiet» anthem full internal by concentration of spiritual forces continues in warm colors lyrical, yet indirect, the image of a mother who «embrace to himself all the children warm hand ». Extended-melancholy oboe theme (leyttembr) is preceded by a mother who says to his unfortunate children. Its unhurried appeal accompany the flute and clarinet. But the mother’s appeal »Rise to the holy work» parties pointed horns and pipes. Consolidation durations, recitative-declamatory melody section »Pora, kids’ reaches its climax on the words »to Gazda not become a servant to the world!». Back episode of »dark» forces and thunderstorms «Thunders!» Broken chromatic phrases, and Section »Grace comes time to» - a certain retrospection back, look to the past. Once again we face image of the Mother, which is full of excited feeling »You come to life again, Hope!» (composer emphasizes the growth of a voltage musical expression marked «declamazione»). Particularly keenly heard her roll with male choir »O heart! Wole Oh! O people! » The new section »grow, vine, greyhounds, green oak» marks the third appearance of the motive entry. His active energy dynamizuye entire section and gently turns the image of the Son »Oh, volenko - have only one. » His emotional, thematic commonality with the image of Mother To the highlights is the theme of the party oboe, but even with amplification tube and trombone. In the »Zeleniysya, native land» continues to evolve third motive. The peak middle section in the plot outline is the cantata Mother and son duo »But will only whispered word, and I climb ... ». Again comes the episode »dark» forces, which comes to light and sublime principle (Allegro moderato), and corresponds to the first chapter of his thematic installation »Rozvyvaysya you, high dube». A peculiar final part of a gradual dynamic injection of three sections, at the same time and alternate between them. «Arise, arise, Pahari», »Hey, Get up!» And »Unite» picking up the active call: »Sow! On the down, fall on live arable land seed your opinion! Hey, Arise, Unite, Ukrainian men! Unite!» As the LA Kyyanovska, semantic intonation and has its source cantata pervnyamy »Ukrainian epic song tradition (Duma),» appealing to the origins of the tradition of Kant and psalms, spiritual concert and composer skillfully uses elements of »intonation vocabulary era» Western music of the late XIX - early XX century., ie Franko time »[5; 388]. However, all these positions are arranged in a coherent integrated system of individual style of the composer during his »Mod look» create a qualitatively new reading philosophical and ethical content Franko poetry. Analytical Review and hermeneutic analysis cantata »Grace comes time to» V. Kaminsky on poems Franko allowed to generalize the characteristics of the following aspects: • coordination »high» and »popular», »modern» and »tradition», which is typical position »egalitarian» art; • significant complications musical vocabulary; • return to deep national mental layers - in the form of direct appeals, and in indirect allusions. Intonation and semantic source of analyzed songs reach its pervnyamy Ukrainian epic song tradition (Duma), appeal to the origins and traditions of edges psalms, spiritual concert and contain elements of »intonation vocabulary era» Western music of the late XIX - early XX century., ie Franko time; • cantata score W. Kaminsky adequately and convincingly reveals different levels of poetic content: philosophical, emotional, ethical and associative. Music frankiana Lviv composers of the late XX - early XXI century. certifies revival interest in the artistic space to musical interpretation of poetry Franko. Composer interpretation of the concept of the poetic word and its symbolic value, the specifics of copyright accents indicate semantically capacious musical reading and deep hermeneutic, structural analysis of a literary source. Heritage Franko already received in previous historical periods, many interpretations of myths, not adequate and always positive to penetrate deeper conception of the poet. So Newest music composer concept Franko embodiment of poetry, including the works of Vladimir Kaminsky, open primary meaning of the poetic text masons and convey to the audience the hidden meaning Franko words artistically justified in musical images. Overall the whole music Frankiana V. Kaminsky not only continued the trend of musical interpretation Franko words formed in Galician music school at the end of the twentieth century. And also previously discovered hidden philosophical universals Mighty spirit and words as from the standpoint of contemporary socio-cultural situation in Ukraine and requirements of the new art. Thanks to the works of contemporary composers Lviv school of spiritual and moral content deeply domestic products Franko found a harmonious understanding with the aesthetic principles egalitarian arts and opened new horizons for future generations of Ukrainian composers.

References 1. Garasym J. Franko, national development philosophy / J. // Ukrainian Garasym literary criticism. - Vol. 74. - L., 2011. - P. 12-19. 2. Gritsak am a prophet in his own country. Franco and his community (1856-1886) / Hrytsak // Critics. - K., 2006. - 631 p. 3. Zabuzhko A. Philosophy of the Ukrainian Idea and the European Context: Franko period / A. Zabuzhko. - Kind. 2nd. - K: Fact, 2009. - 156 p. 4. Zagaykevych M. musical world of big Kamenyar / M. Zagaykevych. - K.: Music. Ukraine, 1986. - 175 pp. 5. Kyyanovska LA Music Poetry reading Ivan Franko dimensions of modern aesthetics (in the works of Lviv composers) / L. Kyyanovska // Ukraine: Cultural Heritage, national consciousness state. - Vol. 21: Scripta manent. Anniversary Coll. to respect B. Yakymovych / NAS of Ukraine, Institute of Ukrainian Studies. I. Krypyakevych. - L., 2012. - C. 377-388. 6. Lyudkevych S. John Franco and music / C Lyudkevych // Lyudkevych C. Research articles, reviews, speeches / C Lyudkevych [compilation. Q. Shtunder]. - L: Izdatel’stvo Kots M., 1999. - T. 1. - P. 273-276. 7. A. Tereshchenko Music reflection to the poetry of Ivan Franko. Current measurement / A. Tereschenko // Music ukrainistics: modern dimension: mizhvidom. Coll. Science. Art. in honor of Dr. mystv. Sci. Mary Zagaykevych. - Vol. 4. - K., 2009. - P. 216-221. 8. Shchurat W. Franks method of creation / V. Shchurat // Memories of Ivan Franko / [compilation. M. Hnatiuk]. - LA: Mason, 1997. - P. 280-281.

Summary Thanks to a significant upgrade of the system of musical thought in the works of Ukrainian composers end of XX - XXI century. there are new musical poetry reading Franko. Among modern Lviv composers whose work formed in 1970, attention poetic Franko word pays composer V. Kaminsky. In the symphonic poem »In Memory Kamenyar» (1977) and songs the words of Ivan Franko »Green sycamore» and »Song and Work», »divine in the human spirit» (2001), cantata »Grace’s time comes» (2006) - composer embodied the refined reading poetry Franko. Analytical Review and hermeneutic analysis opus V. Kaminsky on poems by the poet to generalize allowed their characteristics: coordination of »high» and »popular», »modern» and »tradition»; significant complications musical vocabulary; return to the deep layers of the national mental, semantic intonation sources analyzed works reveal different levels of poetic content (philosophical, emotional, ethical and associative). Music frankiana V. Kaminsky shows revival in art Space XXI century. interest in musical interpretation of poetry Franko. Keywords: Ivan Franko, egalitarianism, musical interpretation, Victor Kaminsky.

Summary El’tek I. Musical interpretations of poetry of Ivan Franco in work of Victor Kaminsky Thanks to a significant upgrade of the system of musical thought in the works of Ukrainian composers of the late XX – early XXI century, new music reading poetry Franko, the creativity of the period in which appeals many Ukrainian artists in the broad sense of the word. The article mentions heritage Ukrainian composers who turned to their own interpretation of Lviv. Among the modern Lviv composers whose work formed in 1970, attention Frankove poetic word pays composer V. Kaminsky. In the symphonic poem »In Memory Kamenyar» (1977) and songs to the words of Ivan Franko »Green sycamore» and »Song and Work», »Oh, worlds misyachenku» (1986), »divine in the human spirit»(2001), cantata »grace time comes» (2006) – composer embodied the refined reading poetry Franko. The article reviewed in detail each of the above-mentioned works the composer revealed specifics of musical interpretation of the images, means of expression. Analytical Review and hermeneutic analysis opus V. Kaminsky on poems of the poet allowed summarize their characteristics: coordination of »high» and »popular», »modernity» and »tradition»; significant complications musical vocabulary; return to deep national mental layers, intonation and semantic source of analyzed works reveal different levels of poetic content (philosophical, emotional, ethical and associative). Music frankiana Lviv composers of the late XX – early XXI century confirms the revival of interest in the artistic space to musical interpretation of poetry Franko. Composer concept interpretation of the poetic word and its symbolic value, the specifics of copyright accents indicate semantically capacious musical reading and deep hermeneutic, structural analysis of a literary source. Heritage Franko already received in previous historical periods many interpretations, myths are not always adequate and positive to penetrate deeper conception of the poet. Therefore, the latest incarnation of the musical composer concept Franko poetry, particularly in creativity V. Kaminsky, open primary meaning of the poetic text masons and convey to the audience the hidden meaning of words in art Franko justified musical images. Overall the whole music Frankiana V. Kaminsky not only continued trend of musical interpretation Franko words that formed in the Galician music school at the end of the twentieth century. And also previously discovered hidden philosophical universals mighty spirit and words as from the standpoint of contemporary socio-cultural situation in Ukraine and the requirements of the new art. Thanks to the work of contemporary composers Lviv School of spiritual and moral content deeply domestic products Franko found a harmonious understanding with the aesthetic principles of egalitarian arts and opened new horizons for future generations of Ukrainian composers. Key words: Ivan Franko, egalitarianism, musical interpretation, Victor Kaminski, symphonic poem, means of expression, symphonic music, modern vision, music frankiana, Ukrainian composers, philosophical universals, the primary meaning of the poetic text.

Abstract Еltek Y.S. Muzіkalnіe interpretation of poetry I. Franko Victor Creativity Kaminskiу Thanks to the Updates system in musical thinking of Ukrainian Creativity conc composers of XX - beginning of XXI century poyavlyayuts New muzыkalnыe prochtenyya poetry I. Franco. Among sovremennыh lvovskyh composers, Creativity kotorыh in sformyrovalas 1970th Years, Particular Wikipedia Frankove Poetic word udelyaet V. Kaminskii. In symfonycheskoy Poem »Pamyat Kamenyar» (1977 g), romances to the words of I. Franko »Green Jawor» and »Song and work», »Bozheskoe in chelovecheskom duhe» (2001), kantate »Grace is time nastupaet» (2006) - composer voplotyl rafynyrovannoe prochtenyya poetry I. Franko. Analytical overview and hermeneutic analysis opusov V. Kaminskii on verses of the poet pozvolyl obobschyt s characteristics: MATCHING »High» and »popular», »modern» and »traditions»; suschestvennoe uslozhnenye muzыkalnoy vocabulary; Return hlubynnыm for national-mentalnыh reservoir, intonation, semantycheskye Sources analyzyruemыh proyzvedenyy raskrыvayut raznыe Levels Poetic CONTENT (philosophical, эmotsyonalnыy, nravstvennыy and assotsyatyvnыy). Muzыkalnaya Frankyana V. Kaminskii svydetelstvuet at Revival in artistic space Interest for the XXI century poetry interpretation muzыkalnoy I. Franko. Keywords: Ivan Franko эhalytaryzm, muzыkalnыe interpretation, Victor Kaminskii. Received 11/12/2014

UDC 78.071.1 (477) (092): 786.2 A. Frayt

CREATIVITY UKRAINIAN PIANO COMPOSER IN THE SCIENTIFIC AND JOURNALISTIC HERITAGE VASYL VYTVYTSKY

Basil Vytvytsky - musicologist, composer, conductor, teacher and one of the leading representatives Western Ukrainian emigration. His scientific and critical legacy includes significant chronological Music History and span a wide range of problems in different areas of musicology. Her study engaged in such researchers as Yasinovskyi Yu, L. Lehnyk, H. Karas and others. As problems B. Vytvytsky being introduced to the Ukrainian piano music is still not covered separately, subject of the article is relevant. Its purpose is to highlight the role of musicological and critical- journalistic Heritage Ukrainian scientist to study piano works. B. Vytvytsky Born October 16, 1905 in Coloma. A memoir »musical ways» we learn about musical environment in which growing future musicologist: »Looking for The earliest impressions of childhood, find the sounds of piano and above all - singing, continuous chants. My older sister studied for years fortepiyanovu game and - especially when it’s time to come annum exams and performances - filled hut till late melodies and chords performed works »[10; 19]. In Kolomyia gymnasium, he studied piano at Eleanor Gaunt [12; 9]. 1925 W. Vytvytsky went to Krakow and entered the Jagiellonian University, where muzykolohiyu and studied Ukrainian language and literature. At the same time played a song Conservatory with Professor M. Piotrowski. Remarkably, the first scientific work studenta- musicologist was »Barvinskyi piano work», prepared under the guidance of prof. Yahymetskoho in 1928 valuable that he turned to the music of his older contemporary, representative Ukrainian modernism. According to L. Lehnyk, this work in the archive missing scientist. [12] Postdoctoral and PhD degree in the area muzykolohiyi, V. Vytvytsky worked as a teacher of theoretical subjects, later – director Peremyskoyi Lviv branch of the Higher Music Institute. Lysenko. Since 1937 - in Lviv, where worked closely with prominent pianists and composers of the time in the Music Institute at radio, music publishing. 1944 Vytvytsky went to Austria and Germany, where he remained until 1949 in the so-called. Camps displaced persons and continued to work for the benefit of native culture. Throughout the 1940s it appeared a number of chamber works, including the piano: Sonatine and two volumes of treatments folk songs in four hands, three plays - »Dove» Waltz, Intrada, piano trio. Upon arrival with his family to America (m. Detroit) in 1949 was in the midst Vytvytsky Music and social and cultural life of Ukrainian emigration. While overseas, he has always been the soul of Ukraine, sought truth in covering the history of Ukrainian music various foreign journals and encyclopedias, reported to the American citizens information about the best Ukrainian artists and their works promoted wrote reviews of concerts and publications, monographs and more. Long-term path B. Vytvytsky ended December 31, 1999 On older Ukrainian piano work in his works find only cursory notes. Regarding piano music Lysenko also no detailed specifications. However, it is important remarks that the work provided Lisenkov »fortepiyanniy rights of citizenship in the literature Ukrainian music »[8; 40]. Also noteworthy statements regarding targets, Lysenko your data successors: »In the early twentieth century Ukrainian music branches out in several different directions, creativity is scheduled Mykola Lysenko. Yes, fortepiyannu work develops Barvinsky, Revutsky later, Kosenko »[7; 81]. Not bypassed V. Vytvytsky piano music Sichinskiy D. in an article about it, writing that »quite numerous piano works written in Sichinskiy tank (waltz, mazurka) general and miniature forms. They differ little from common here in those days, and fortepiyanovoyi tsytrovoyi domestic music literature. Only a few, like »Oh krynychen’ky three box ‘reliance a somewhat broader terms of theme and variations »[5; 77]. Remarkably, the author stressed important patriotic educational work Sichinskiy D. - collection and publication of popular folk Songs for Piano »Extremely useful and important to role among wide circles of our community performed voluminous collection of »Ukraine has not perished». It Sichynskyi collected and put in a good and easy way of piano great number of folk and popular songs »[5]. In a review of »Musical Life of Galicia» piano music mentioned in connection with two »Leading composers» - S.Lyudkevych and Barvinskyi. Of which puts Barvinsky »The greatest emphasis on instrumental work. Ukrainian music fortepiyanna found in it its leading representatives »[9; 37]. Meanwhile, in intelligence »Stanislav Lyudkevych» B. Vytvytsky nevertheless noted that »in chamber music plays a significant Liudkevych piano »[11; 66]. The most interesting in Ukrainian piano works (taking into account the number of articles it) was to musicologist V. Barvinsky. In his memoirs about him described his Vytvytsky V. acquaintance and meeting with him about writing student work. »I asked about the circumstances writing individual works, the source of their subjects, the form names mentioned and more. Well remember how warmth and a friendly attitude Barvinsky to the then university student and who comprehensive information ... were his writings on art fortepiyannu Basil Barvinsky I read on Only several seminar meetings muzykolohichnoho love »[3; 138]. Musicologist continued to explore the piano works of the composer in such works as »Basil Barvinsky», »Basil Barvinsky thirtieth of creativity and work» »Analytical studies on the works of Basil Barvinsky» (as noted by the compiler works by Vytvytsky L. Lehnyk, title last publication belongs to the collection editor Yu Yasinovskyi and not B. Vytvytsky. These analyzes significant number of one piano and orchestral work, »obviously, preparing for a separate study of more Barvinsky ») [1; 234]. Writing about the early years Barvinsky, Vytvytsky emphasized the supportive family atmosphere, the impact of the mother - a brilliant pianist and dyryhentky E. Lyubovych - on sensitive soul boy and his train music. Musicologist submitted an excerpt from the memoirs of Barvinskyi visitality Lysenko in their home in 1903 when he came to Galicia to celebrate the 35th anniversary of his work and encouraged the youth to music lessons once listened to him play [2; 115]. Describing years Barvinsky acquiring vocational education (Lviv, Prague), Vytvytsky said that even during the training workshop appear first songwriting efforts - namely cycle preludes, in tune with the style of contemporary European art trends. He singled out signs style of the artist, which are evident in these preludes »his creative efforts are in the direction to Ukrainian music to connect with universal musical movement of our day. Before he goes consistently the way of evolution, and that he is in Ukrainian music innovator. Based on the first preludes ... You can produce a nearly complete image of his creative »I». Great spivnist and a broad line of melody, courage and sincerity of expression - the tsihy his music. In the first essay zaznachyvsya the relationship Basil Barvinsky of Ukrainian folk song (Prelude g-moll), which zatisnyuvavsya in further years each time the more and was one of the features of his creativity naymarkantnishyh «[4; 53]. Wider characteristics of creative writing Barvinsky given in Article 100 anniversary of his birth. Here Vytvytsky noticed such a prominent stylistic omen as »wealth, diversity and coloring harmonic musical language it means »[2; 116]. In addition, musicologist touch gravitation of the composer to the latest musical trends, »for composing Profile Barvinskyi distinguishing its relation to musical modernism, which in the early twentieth century. gaining more and louder and wider scale. At the heart of the manifestations of this movement was a radical aspirations rejection criteria and values transmitted tradition, and to experiment - at any price – quest new ways, new opportunities. Barvinsky not eares their ears the sound of modern music, but not its manifestations took over for his unconditional »believe.» Actually a combination of the latest transferred, ability create new, not rejecting traditional - this is one of the foundations of our creative work of the composer »[2]. Of particular interest is the musicological analysis of piano works Barvinskyi, B. Vytvytsky made in different years. Considered Sonata, Suite, Three Preludes, frog waltz Sheet to the album thumbnail variation on the theme of Ukrainian folk song Thumbnails on Lemko theme. Writing about sonatas, music critic once noted that Barvinsky went their own way. Pioneering composer on forms manifested as »crossing two different design concepts »- sonata cycle and theme with variations. In addition, all of the works are based on one thematic material. Posted detailed plan sonata tone and structure of each part. Thesis there is determined the work signs are common to all Barvinsky piano music. First, it harmonic richness and ingenuity, and secondly, a kind of »piano polyphony.» Another important element of style musicologist put monotematychnosti sonatas: this variation of that »small exceptional value at an early stage of the composer. She was one of the reasons it musical thinking, idiomatic part of his creativity. » Moreover, »in his choice of- among different categories variyantnosti Barvinsky always gives primacy characteristic variation »among Other themes of transformation - »rhythmic, melodic, harmonic, of color, fakturalnyh and - in last place - voluble »[1; 235]. The analysis concluded that »Fortepiyanna Sonata Barvinskyi not belong to typical and representative works of the composer … The product of this - one of the original efforts in the field of sonata cycle in Ukrainian music »[1; 236]. Analysis of »Ukrainian suite» Vytvytsky began to turn a finding of »national directly in Ukrainian music », initiated by, according to musicologist, was Lysenko. Short oharakteryzuvashy folk songs form the basis of each of the four parts of the suite, Vytvytsky defined formal features of these parts and the presence of dominant principle variatsiynosti. Analysis summarized as follows: »in this work viddzerkalylysya typical features composer: lyricism his musical language, harmonious diversity of the distinct whiff of Impressionism, a kind thinly held polyphonic textures »[1; 237]. Suite musicologist named one of Barvinsky basic piano works of Ukrainian literature. About three Preludes that »went into complete oblivion nezasluzhenno» (after a long time were in the manuscript; issued by the professor, candidate. ped. Science FILONENKO L. 2008) Vytvytsky wrote, »generally speaking, All three reflect the composer’s preludes fortepiyannoyi knowledge of technology and its capabilities »[1]. He said typical genre of »full use one small musical thought.» Along with that, this standards inherent in »unconventional, quite colorful and elaborate intricacies of harmony» [1]. Musicologist gave a description of each prelude given form, harmony, technical difficulties, emotional voluble content. In addition, noted inaccuracies in musical notation preludes each. In the analysis of »frog waltz» - Early works - highlighted the cacophony using simulation sekundovyh harmonies in the introduction and finish. Vytvytsky also stated that »this work reflected, to some extent one feature composer manners, namely its tendency to pohidnist and raillery »[1; 239]. In »Variations on a theme-miniatures Ukrainian folk song» meticulously examined each variation by genre, theme and metro-rhythmic modifications and character of the music. Reported: interesting and bizarre harmony Scherzo (second variation), rhythmic richness fifth variation features polyphonic latest technology (fuhety). There followed a general principle of construction work on based on contrasts. Reed variatsiynosti definitsiyovano as »free, or so-called typical »[1; 240]. B. Vytvytsky concluded that the type of constant growth and achievement grand culmination of his work does not meet the definition of »variations thumbnail». However, this composition is further evidence of significant - »privileged» - the role of shape variations in the works Barvinskyi. Cycle »on the Thumbnail Lemko theme» considered as a result of the success of pre-written Barvinsky series »Six Miniatures based on Ukrainian folk songs.» Comparing both cycles, musicologist and saw the similarities and differences. »Despite the identity of names - »Miniatures» - the works of the second cycle of the extended wider, richer, their texture and degree of technical demanding a much higher »[1; 240]. In »Song without words» the composer »responds to subtle signs selected theme. » Two other miniatures on Lemko theme - »Lullaby» and »March» resonate with their counterparts from the cycle of six miniatures and genre definitions and accommodation »March» as the final composition. This is called not random: »in this way as a composer stresses that the folk songs he tries to get not only its melody and thoughtfulness, but vitality, vigor and scope »[1; 241]. As in previous analyzes indicated Vytvytsky it marked discrepancies in the manuscript that is valuable for future publishers. Expressing confidence that the celebration of the Jubilee strengthen Barvinskyi interest in his work not only in concert halls but also »in our homes,» musicologist and remembered his piano cycles for children (especially »Our sun plays the piano»). This music »... Especially brynityme fingers under our smallest for which it komponuvav with such care and love »[2; 119]. B. Vytvytsky added image composer, pianist, teacher, musical and public figure Barvinskyi features criticism of his human nature, »was a man of high moral and civic virtues. ... He was a master of harmony not only in music but in life »[2; 117]. Know that »Basil Barvinsky luck to have one of the most characteristic features - optimism and cheerfulness. In behavior he could combine the advantage of an outstanding artist with simplicity and sociability Of course, attentive every person »[3; 139]. Touching lines where Vytvytsky B. indignant unfair the artist’s charge by representatives of Soviet power and its ten-year exile to Siberia: »Hands, whose purpose was to record thoughts and experiences of prominent composer-creator, the laden hands for many years to cut down forests Mordovian »[2; 118]. Not bypassed this cup of suffering another Galician composer B. Kudryk, who was in Siberian camps simultaneously with Barvinskyi. Vytvytsky wrote an article about it in which described his fate, services to the Ukrainian art. After the Soviet times the name concealed, not published works not performed. Not specifically zatorkuyuchy piano Land composer, musicologist wrote only about the sonata, although there were other Kudryk compositions for piano. Giving a general assessment of stylistic creative manner of the artist, Vytvytsky wrote about him as a person wholly »look backwards and heard in the past, in the days of classic measures and proportions. The ancient musical tradition, he remained faithful despite radical or even revolutionary change first decades of the twentieth century »[6; 95]. It followed admiration B. Kudryk to sonata form (»I want sonatnyka Ukrainian laurels» - wrote in a letter) in which he achieved considerable success. Kudrykova Sonata in A minor for violin and piano was awarded at the competition in the US in 1932 [6; 97]. While working at Detroit radio Vytvytsky closer acquainted with A. Rudnytsky. Especially fell Vytvytsky liking piano sonata the composer, which he passed in the record execution of his son - pianist Robert Rudnytsky. »I think - wrote musicologist – one the best works of our composer. ... the history of this extraordinary work. Sonata was written in 1931 year, while Rudnytsky in Kiev. All of it is built on melodies of songs shooting »Oh visible village, wide village under the mountain» and »Oh, exceeding sorry archers sichoviyi as Zbruch river passed. » This work won first prize at the international competition that his suit Polish Music Society in Warsaw in 1937 »[10; 181]. B. Vytvytsky scientific heritage gives reason to believe that the Ukrainian piano Creativity has always been in his field of vision. Remarkably, becoming Vytvytsky-musicologist it began the study of piano music with the composer Barvinskyi, which always kept constant analytical interest. Value musicological heritage for scientific study Ukrainian piano works is the true objective information based on personal contacts with a number of composers in professional and thorough evaluation of artifacts musical analysis composition is further evidence of significant - »privileged» - the role of shape variations in the works Barvinskyi. Cycle »on the Thumbnail Lemko theme» considered as a result of the success of pre-written Barvinsky series »Six Miniatures based on Ukrainian folk songs.» Comparing both cycles, musicologist and saw the similarities and differences. »Despite the identity of names - »Miniatures» - the works of the second cycle of the extended wider, richer, their texture and degree of technical demanding a much higher »[1; 240]. In »Song without words» the composer »responds to subtle signs selected theme. » Two other miniatures on Lemko theme - »Lullaby» and »March» resonate with their counterparts from the cycle of six miniatures and genre definitions and accommodation »March» as the final composition. This is called not random: »in this way as a composer stresses that the folk songs he tries to get not only its melody and thoughtfulness, but vitality, vigor and scope »[1; 241]. As in previous analyzes indicated Vytvytsky it marked discrepancies in the manuscript that is valuable for future publishers. Expressing confidence that the celebration of the Jubilee strengthen Barvinskyi interest in his work not only in concert halls but also »in our homes,» musicologist and remembered his piano cycles for children (especially »Our sun plays the piano»). This music »... Especially brynityme fingers under our smallest for which it komponuvav with such care and love »[2; 119]. B. Vytvytsky added image composer, pianist, teacher, musical and public figure Barvinskyi features criticism of his human nature, »was a man of high moral and civic virtues. ... He was a master of harmony not only in music but in life «[2; 117]. Know that »Basil Barvinsky luck to have one of the most characteristic features - optimism and cheerfulness. In behavior he could combine the advantage of an outstanding artist with simplicity and sociability Of course, attentive every person »[3; 139]. Touching lines where Vytvytsky B. indignant unfair the artist’s charge by representatives of Soviet power and its ten-year exile to Siberia: »Hands, whose purpose was to record thoughts and experiences of prominent composer-creator, the laden hands for many years to cut down forests Mordovian »[2; 118]. Not bypassed this cup of suffering another Galician composer B. Kudryk, who was in Siberian camps simultaneously with Barvinskyi. Vytvytsky wrote an article about it in which described his fate, services to the Ukrainian art. After the Soviet times the name concealed, not published works not performed. Not specifically zatorkuyuchy piano Land composer, musicologist wrote only about the sonata, although there were other Kudryk compositions for piano. Giving a general assessment of stylistic creative manner of the artist, Vytvytsky wrote about him as a person wholly »look backwards and heard in the past, in the days of classic measures and proportions. The ancient musical tradition, he remained faithful despite radical or even revolutionary change first decades of the twentieth century »[6; 95]. It followed admiration B. Kudryk to sonata form (»I want sonatnyka Ukrainian laurels» - wrote in a letter) in which he achieved considerable success. Kudrykova Sonata in A minor for violin and piano was awarded at the competition in the US in 1932 [6; 97]. While working at Detroit radio Vytvytsky closer acquainted with A. Rudnytsky. Especially fell Vytvytsky liking piano sonata the composer, which he passed in the record execution of his son - pianist Robert Rudnytsky. »I think - wrote musicologist – one the best works of our composer. ... the history of this extraordinary work. Sonata was written in 1931 year, while Rudnytsky in Kiev. All of it is built on melodies of songs shooting »Oh visible village, wide village under the mountain» and »Oh, exceeding sorry archers sichoviyi as Zbruch river passed. » This work won first prize at the international competition that his suit Polish Music Society in Warsaw in 1937 »[10; 181]. B. Vytvytsky scientific heritage gives reason to believe that the Ukrainian piano Creativity has always been in his field of vision. Remarkably, becoming Vytvytsky-musicologist it began the study of piano music with the composer Barvinskyi, which always kept constant analytical interest. Value musicological heritage for scientific study Ukrainian piano works is the true objective information based on personal contacts with a number of composers in professional and thorough evaluation of artifacts musical analysis.

References 1. Vytvytsky V. Analytical studies on the works of Basil Barvinsky / V. // Vytvytsky Musicological work. Journalism. - L., 2003. - P. 234-243. 2. Vytvytsky Basil Barvinsky / V. Vytvytsky // overseas: Coll. Art. - L., 1996. - S. 115-119. 3. Vitvytskyy Vasily V. Barvinsky in my memories / V. Vytvytsky // musicological work. Journalism. - L., 2003. - P. 138-157. 4. Vytvytsky Vasily V. Barvinsky thirtieth of creativity and work / V. // Vytvytsky Musicological work. Journalism. - L., 2003. - P. 52-53. 5. Vytvytsky Denis V. Sichynskyi / V. Vytvytsky // musicological work. Journalism. - L., 2003. - P. 76-77. 6. Vytvytsky V. The life of Boris Kudryk / V. Vytvytsky // overseas. - L., 1996. - S. 95-99. 7. Vytvytsky V. »Caucasus» S.Lyudkevych / V. Vytvytsky // musicological work. Journalism. - L., 2003. - P. 78-81. 8. V. Vytvytsky Mykola Lysenko and his influence on the musical life of Galicia / V. // Vytvytsky Musicological work. Journalism. - L., 2003. - P. 39-41. 9. V. Vytvytsky Galicia Musical Life / V. Vytvytsky // musicological work. Journalism. - L., 2003. - P. 35-38. 10. V. s music Vytvytsky ways: Memories / V. Vytvytsky. - Munich: Modernity, 1989. - 217 p. 11. Vytvytsky Stanislav V. Lyudkevych / V. Vytvytsky // musicological work. Journalism. - L., 2003. - P. 60-68. 12. Lehnyk Basil L. Vytvytsky - artist and scientist: introduction / LA // musicological Lehnyk work. Journalism. - L., 2003. - P. 8-18.

Summary The article is devoted to scientific achievements V. Vytvytsky in Ukrainian piano creativity. Deals with the moments of his life associated with piano art. Considered Research and memories, which analyzed the musicologist piano compositions revealed features style and some human qualities composers. Tags: musicologist, piano music, composer, work.

Summary Frayt O. Piano Works of Ukrainian composers in the scientific and publicist heritage of V. Vytvytsky The article is devoted to scientific achievements V. Vytvytsky in Ukrainian piano works. The article deals with some aspects of his biography related to piano art; focuses on music-theoretical aspects of the composer said, his teaching activities as a teacher of music and theoretical subjects, and later - director of Przemysl branch of higher musical Institute. Lysenko. Since 1937 – in Lviv, where worked closely with prominent pianists and composers of the time in the Music Institute, radio, music publishing. Much attention is paid to the musical education and concert activity V. Vytvytskoho in exile – Austria, Germany (1944-1949 years) in so-called camps for displaced persons, analyzed his work of this period. Deals with the specifics of self-actualization and composer during his stay in the United States (1949). We consider a number of studies and memoirs in which musicologist analyzed piano compositions revealed particular style and some human qualities composers, including his analysis refers to the work of Lysenko, V. Sichynskoho. Remarkably, the author stressed the important patriotic educational work J. Sichinskiy – collection and publication of popular folk songs for piano. Musicologist continued to explore the piano works of the composer of such works as »Basil Barvinsky», »Basil Barvinsky thirtieth of creativity and work», »Analytical studies on the works of Basil Barvinsky». Of particular interest is the musicological analysis of piano works Barvinskyi taken W. Vytvytsky in different years. Considered Sonata, Suite, Three Preludes, frog waltz, Leaf to album thumbnail Variations on a Ukrainian folk songs thumbnails in Lemko theme. B. Vytvytsky added image composer, pianist, teacher, musical and public figure and critic Barvinskyi features of his human nature, »was a man of high moral and civic virtues. ...He was a master of harmony not only in music but also in life». While working at Detroit radio Vytvytsky closer acquainted with A. Rudnytsky. Especially fell Vytvytsky liking piano sonata composer, he donated his son’s record performance – pianist Robert Rudnytsky. »I think – wrote musicologist – is one of the best works of our composer. ...The history of this extraordinary work. Sonata was written in 1931, while Rudnytsky in Kiev. All of it is built on shooting melodies of songs »Oh visible village, wide village under the mountain» and »Oh, exceeding sorry archers sichoviyi as Zbruch river were». This work won first prize at the international competition that he arranged the Polish Music Society in Warsaw in 1937». B. Vytvytsky scientific heritage gives reason to believe that the Ukrainian piano work was always in his field of vision. Remarkably, becoming Vytvytsky-musicologist it began with the study of piano music the composer Barvinskyi, which always remained constant analytical interest. Value musicological heritage of Ukrainian scientists to study piano works is the true objective information based on personal contacts with a number of composers in professional and thorough evaluation of artifacts musical analysis, – stated in the article. Key words: musicologist, piano music, composer, work, Basil Vytvytsky, emigration, national and cultural heritage, national music, musical-critical activities, Western Ukraine, generation of Ukrainian artists, scientific and journalistic activities.

Abstract Frayt A. Fortepyannoe Creativity of Ukrainian composers in nauchnom- publytsystycheskom V. Vytvytskoho’s heritage Article VI consecrated Scientific Heritage in the industry Vytvytskoho Ukrainian fortepyannoho creativity. Osveschenы momentы biography of the scientist related fortepyannыm art. Rassmatryvayutsya Studies and memories in kotorыh muzыkoved analyzyroval piano compositions, Features style and quality chelovecheskye Some composers. Keywords: muzыkoved, fortepyannaya Music, composer and essay. Received 10/11/2014

UDC 784.4.09: [78.072.2, 391] (477) Y.I. Karchova

A COLLECTION OF »BEST SONG» RAISA KIRICHENKO: FEATURES-PERFORMING VOCAL STYLISTICS

Name People’s Artist of Ukraine, Hero of Ukraine, Chevalier of the Order of Princess Olga Knight Order of St. Nicholas »for augmenting the good on earth», winner of the National Award them. Shevchenko literary and artistic prize. D. Lutsenko »Autumn Gold» Honorary Professor Poltava National Pedagogical University. Korolenko - Raisa Kirichenko Panasivny (1943-2005 gg.) - Well known in the world. Famed singer scientists called »a landmark figure Ukrainian culture »[11; 17]. B. Osadcha said: »The mechanism of reproduction of cultural memory sharp feeling odvichnosti small country, its figurative and emotional world - these concepts characterize creative heritage of People’s Artist of Ukraine Raisa Kirichenko Opanasivna »[11; 47]. Value creation R. Kirichenko for Ukrainian culture Ukrainian LA reveals: »In the XXI century. voice talent Poltavka Ukrainian melodies become those powerful wings that lifted him to the top of »supernatural power» (V. Kochkan) vozvelychyvshy soul of all the people as the only national family »[11; 88]. The article is to create a paradigm vocal and performance style R. Kirichenko. Analytical study material was a collection of »Best Songs» (2006), which included true Pearls song singer. Opens song collection on poems by A. Pashkevich D. Lutsenko »Mother’s cherry.» For its first line - »Again dreamed childhood» - lyrical form, »nostalgic» mood. Semantic layer creates a chain leading images of archetypes inherent in Ukrainian culture: »Childhood», »mother», »house», »cherry», »love», »homeland», »sacred prayer.» To realize cantilena lyrical singer chooses the academic image of sound manner. Vocal R. Kirichenko style in this song is characterized by strong impedance, high position sky, clear articulation, devoid of reduced vowels sounds, soft attack sound uniform type of expiration, which makes the sound elongated songful phrases. Melody rather small octave range (B flat small octave - B-flat first octave, the tone of the song g-moll) acquires performed by R. Kirichenko more expressive thanks skillful manipulation of registers: dense saturated sound timbre of mezzo-soprano middle register »deeper» in descending melodic jumps by transferring mikstovoho of sound - in the chest register, and vice versa, »leaves» on the upward jump that followed by »transition» sound in the main resonator (optional intake is occasional use falsetto to thematic repetitions as timbre color). Trohdolna metric pulsation without significant deviations provides ahohichnyh songs valsovyh signs. Special plasticity creates rhythmic »prolongation» and the fate of the first »relief» the last (third) (rhythmic formula - half + two eighths). R. Kirichenko increases valsovyy effect (which it interprets as a whirling vortex of life in time) reception «combination» vowel that attributable to long duration. Thus, in the perception of it seems sound »Creek» with vowels: the - and - and - e - a - a. In addition, further refinement provides image songs motive-phrase structure: + 1 cycle 1 cycle + 2 cycles (this dvotakt contains one long sound) with effect final »hang in the air.» This can »hang latest sound» R. Kirichenko up through the use of two major performing tricks. She chooses among able filiruvaty the sound in diminuendo (then he seemed to »melt» in the air, losing overtones), or - last vkvitchaty ringing sound in gorgeous dresses from using vibrato effect and the final crescendo »cliff» (admission pressure removal), who »creates» acoustical resonance. The dynamics observed in average gradation mp - mf. Echo formed connections speakers piano and falsetto reception. Performing the song »Mother’s cherry» is not deprived of folklore items can sometimes watch »flat» sound in chest register, light, almost imperceptible and glissando grace notes that precede long duration. The sincerity of tone achieved dosed subtoniv use effects like splitting timbre (vocal timbre of speech »Noisy» overtones). Other singers manner peculiar song »Home, my white house» (A. Pashkevich, SL. D. Lutsenko). R. Kirichenko focused here on the Ukrainian model of historically informed performance (characteristic that authentic manner singer performed songs mainly in the low register - songs range f - as1). From the first sounds noteworthy specificity articulation of the singer. R. Kirichenko reduces the vowels »a», »I», »bringing» their sound to »o». This forum provides sound folklore color, reflecting the specific sound for Poltava dialect. Also, in the acoustic sense sound clarity disappears »pure» vowel («pure» vowel pronunciation characterizes academic manner vocalizations). Another nuance is close articulation pronunciation sounds and broad »crevice» articulation («the smile», «especially «e», «s»). As for the technique of sound in this song R. Kirichenko Performing follows guidelines folk singing. The neutral position of the larynx, flat sky, no »dome» close articulation causing »change vector» in motion »sound wave» that in the folk tradition is not aimed up (as in the academic vocals) and forward (this is especially true for »steppe» style of singing) .Svoyi details in this case a distribution breathing. Luft and not adjusted caesura music-syntactic (of phrase) factors, and individual verbal accents. Singer »slopes» all air on stock individual words that she wants to emphasize (these words are usually national archetypes – »hut» »Mother», »family»), and does not distribute it evenly to the entire sentence (as in the academic tradition). So, Air is fed to the links pulses, jerk, not a soft jet. An interesting variation is vyrazovym taking singing attack. The first verse of paints »Hut» outside, the second - from the inside. We can say that the first verse - a kind of »Anthem» home house, and the second - chamber picture family comfort. R. Kirichenko for the first verse elect solid active attack, the second - the soft. Solid attack with strengthening the role of consonants peculiar pronunciation of the word »anxiety», which (as in potential danger for family happiness) stresses singer. Such attacks Choral welcome variation is present in the song »The Road Heritage» (A. Zuev, on SL. D. Lutsenko): provides a solid attack and determined to shine metallic sound (in the words »I’m on it (through life. - YK) was no hesitation, like the minefield, not afraid that suddenly somewhere flash explosion death »), a soft attack creates a gentle and warm timbre (the word» father and mother Daily longed for me to pain, zadobryayuchy fate to harm me obmynalo »). In «Dear heritage» also tapped points reduction vowels, although in terms of vocal sound production dominates academic approach. On the »Academic tail» show Mordent, which is not inherent in folk tradition as rhythmic formula tango genre attribute certain historical period (at a rate of 8.12, with instrumental emphasis weak fractions tact). Among the original performing tricks R. Kirichenko should pay attention to the reception operating density of sound (sound »touch»). The density increases on strong sound reduced by fate and weak. The increase in density is accompanied articulation portamento, weakening »Sound Pressure» - articulation non legato, close to staccato. This technique leads to a flow of plastic wave-like movement, which is full of the mood of the song. Beauty Cello velvety vocal timbre R. Kirichenko demonstrates song »I love you like dream charm »(O. Kushnarev at ff. D. Lutsenko). As you listen to the songs performed outstanding Ukrainian singer is clearly defined another trend: author’s song lyric composition, which in Coating approach the genre of romances, R. Kirichenko performs in a manner reminiscent of academic singing. But the specifics of the singer’s performing style defines the existence of »inside» academic manners minor »authentic attributes» (eg, reduction of sounds while singing). Vyrazove importance Coating of individual vocal registers R. Kirichenko: close to folk tone lowercase (small octave) vivid average case (upper small sounds octave - the first octave to g), »remote» high case. The same strange impression that R. Kirichenko »singing in different voices,» consists in While listening to the song »Parents dwelling» (I. Put on ff. D. Lutsenko). Melody songs such wide deployment, originated in extremely low singing register (the lowest note - dis low octave). Within this case even resorted to singer Admission chants, increasing the number of caesura, often picked breathing. On average, register R. Kirichenko like voice »breaks» in the wide space filled with sounds firmly in luxurious »overtone» clothing. As the characteristic vocal style sign R. Kirichenko should emphasize variation position palate, which causes »modulation» authentic type of vocalizations (neutral position) - the academic type of vocalizations (high position). In the climax of the song (on the verge of the second and third verses) is the sudden modulation halftone upward shift (cis- moll - d moll), which provides greater implementation of sensuality, drama. Such a dramatic reception often in Ukrainian folk songs. As a result, the range of the song increased (nearly two octaves, which is rather complicated challenge for singers of authentic tradition). This provides opportunities to demonstrate the beauty singer All registers his incomparable voice. Ukrainian flavor in this song is created also through word-of archetypal characters, inherent poetic texts from the repertoire of the singer: »Cherry Orchard», »willow», »spit» »Scarf», »a fountain», »swallow», »grandmother», »father and mother» ... Another important factor is instrumental support, »filled with» nightingale trills, bells, sopilkovymy (flute) tunes. Beautiful precious »trim» is a vocal ornamentation Micro (micro-glissando, grace notes, etc.) which highlights like folk songs subtext. Singer uses it so skillfully and naturally that these »Textured decorations» are almost invisible. All these trends are stored in the song »Swallow» (V. Kulik, SL. D. Lutsenko). Melody saturated wide phrases breath, »decorated» fine chromatic sequences Chanting. Soft vocal attack, vocal exhalation thoughtful distribution, high position sky give special timbre R. Kirichenko transparency and weightlessness. Occasionally there is »Folklore color» by introducing declamatory elements accenting certain syllables, singers conversion apparatus in an authentic mode of sound (»open» sound, wide stance speech apparatus »pidzhymannya» throat, avoiding »dome» sound, etc.). An important nuance in instrumental folk plane tone of the work is bandura. Gentle lyricism - can be described as the next song - »Unforgettable» (musical. I. Shamo the words of D. Lutsenko). This song, as reviewed is »I love you like a dream charm» - romansovoy slope, sung in mainly academic manner, soft vocal attack. R. Kirichenko sometimes possible reduction to vowels, bringing »a» and »I» - the »o». You can trace the typical tricks style singer performing »rozkvitchannya» long sounds using vibrato, accent Keyword-gasp using archetypes (»love» in the second verse) or increase articulation density to chants (»Spring», »soft», »hope», »heart» »Maternal warmth»). The idea of the irreversibility of time, expressed in the words »my memorable childhood warm », realized by the use of» remote «faltsetnoho singing. Similarly R. Kirichenko interpret other songs romansovoy direction, including - »Apple fate ‘(music. A. Pashkevich, SL. D. Lutsenko),» Dream Girls »(muses. A. Chukhrai, SL. D. Lutsenko). In the manner closer to authentic (prairie style with a flat position palate, Horizontal vector voice message, a high larynx, mouth wide gap position, reduced vowels) sounding songs such as the magnificent »Song of the bread» (muses. A. Pashkevich, SL. D. Lutsenko), arrangements of folk songs - »At the end of the dam,» humorous, effects of speech »Hryts, Hryts» (interesting that dialogic principle underlying the composition of songs transferred not only change timbre »color» of the singer, but the dialogue tools (Bandura and accordion)) full Cossack bravado »Mr. Colonel blue- eyed» (muses. G. Tatarchenko, SL. R. Kirichenko). Some songs sound in the manner of folk-pop (neutral larynx, warm timbre, hypertrophied sincerity of tone, the principle of »naspivuvannya» averaged (mezzo piano) dynamic gradations): »Syn’ooki nightingales’ (music. O. Chukhrai, SL. M. Shevchenko), »Oh, in the forest, in the forest,» »Oh there in the field,» »Two Colors» (muses. O. Bilash, SL. D. Pavlychko). Conclusions. So, summarizing observations of performing style R. Kirichenko, try to describe the paradigm performing the famous singer. 1. Repertoire R. Kirichenko constructed in such a way that its basis is the archetypal obrazy- characters on different levels (phonetic implitsytnosti, words and symbols), expressing constant Ukrainian mentality, wake on genetic-cultural memory and sense of national identity. 2. Stage singer’s image as a purely Ukrainian mothers, Cossack, is Bereginya important for every Ukrainian. 3. The natural beauty, unique voice sounding great color range – rich, rich timbre mezzo-soprano became the most important key to artistic success R. Kirichenko. 4. Specificity singer performing style is a combination of traditional features of national, academic and pop vocal style. Its essence lies in the combination of steppe odnorehistrovoyi technology singing with academic principles covered with »dome» singing with the participation of all resonators. 5. The academic component of the vocal style of R. Kirichenko funduyetsya reliance on singing (high impedance), high positions palate, clear close articulation deprived reduced vowels sounds and varying the combination of different kinds of vocal attacks (which are expressive value), uniform type of vocal exhalation. In this manner performed mainly copyright songs by genre close to the romance. 6. authentic part vocal style combines R. Kirichenko performing the following techniques: »Flat» sound in chest register, a horizontal vector audio message, priority the use of low breast-case vowels are reduced, »crevice» articulation, light, micro ornaments - almost imperceptible glissando and grace notes that precede long duration, zvukoobryvy, speech effects »pulse» distribution breathing, emphasis (to chants) individual words. In authentic manner R. Kirichenko treats arrangements of folk songs, and - Copyright folk songs directly. 7. component of the pop-music vocal style R. Kirichenko contains the following settings: Neutral the position of the larynx, subtony, prydyhannya, warm timbre, intonation hypertrophied sincerity, principle »Naspivuvannya» averaged (mezzo piano) dynamic gradations. 8. A characteristic feature of the vocal style R. Kirichenko have different skills in combination types of vocal sound production (possession of different vocal modes depending on executable content of the work and its nuances). 9. Among the individual performing tricks singer should be noted: - Operation registers (dense sounding middle register »deeper» in downward motion transfer sound in chest register, or »removed» in an upward movement by incorporating the main cavity and occasional use of falsetto); - A combination of two approaches to kadansovyh elongated sounds (filiruvannya or rozkvitchannya last tone in a gorgeous dress with sound effect using vibrato crescendo and final diaphragmatic »breakage»); - Reception operation sound density, which increases to strong decreases and destinies on the weak (accompanied by an increase in the density of articulation portmanteau, relaxation »Sound Pressure» - articulation nonlegato, close to staccato), varying the position palate, which causes »modulation» authentic type of vocalizations (neutral position) – in Academic type of vocalizations (high position). 10. The process of prominent singer of the song is characterized by creativity; creation true life images close to the average listener and understood it; perfection performance derived from high performance, understanding of all stages of the creation of artistic image. 11. R. Kirichenko concert performances marked by sincere, incendiary performance (cordocentrism); stage skills, true artistry and creative intuition, through which almost every work in its interpretation impressive, sometimes reaching a level of artistic phenomena are beyond the influence of time.

References 1. T. Vlasyuk About our Bereginya / T. Vlasyuk // adviser, 2006. - № 43 (26 Oct.). 2. Grits S. »That song prorostala ...» / S. Grits // Science and Culture: Ukraine. - K: Knowledge, 1986 - Vol. 20. - P. 434-437. 3. Zagaykevych M. Bereginya song / MM Zagaykevych // Music, 1998. - № 3. - P. 14-15. 4. Kirichenko R. A song will be live forever in the people soul / R Kirichenko // Pravda Ukrainy, 1991 - 18 June. 5. R. Kirichenko Thanks to everyone who vidmolyv me God ... / R. Kirichenko // Governmental Courier, 1998. - № 230 (Dec 1). 6. Kirichenko RO I am Your Cossack, Ukraine / RO Kirichenko [compilation. A. Mikhailenko]. - Poltava: Izdatel’stvo OJSC »Poltava», 2003. - 212 p. 7. G. Kudryashov word about Raisa Kirichenko / HO Kudryashov. - Poltava: Wonderful World, 2007. - 28 pp. 8. Pasemko I. keeper Ukrainian folk melodies / I. Pasemko // Mother School. - 2004. - № 138 (May.). - P. 1-6. 9. Singing Raisa Kirichenko / UKL. M. Shramenko. - K.: Music. Ukraine, 1998. - 96 p. 10. Stetsiv L. soul and the song live for centuries / L. Stetsiv // Dialogist. - 2004. - № 5. - S. 12-17. 11. Creativity Raisa Kirichenko in the cultural space of Ukraine on pokordonni HH- XXI century: the 70th anniversary of the Birthday. Bereginya Ukrainian songs: Coll. Science. pr. / compilation., ed. Ed. G. Kudryashov. - Poltava: PNPU them. Korolenko, 2013. - 300 p.

Summary Paradigm outlined Raisa Kirichenko performance style by analyzing songs from collections »Best Song». Tags: performing paradigm, images, archetypes, impedance, vocal sound formation, singing attack case, resonator, subton.

Summary Karchova Y. Collection is the «Best songs» of Rajyisa Kirichenko: feature vocally-performance of style Outlined paradigm performing style Raisa Kirichenko by analyzing songs from the collection »Best Song» (2006), which included real gems song singer. Observations on the performing style R. Kirichenko, according to the author, enabled note the following: – Repertoire is constructed in such a way that its basis is the archetypal images of characters at different levels (phonetic implitsytnosti, words and symbols), expressing constants Ukrainian mentality, wake up over cultural and genetic memory and sense of national identity; – Scenic singer’s image as a purely Ukrainian mothers, Cossack, Bereginya is important for every Ukrainian; – Natural beauty, a specific color range of great sounding voice – rich, rich timbre mezzo-soprano, was a major key to artistic success R. Kirichenko; – Feature the singer performing style is a combination of traditional features of national, academic and pop vocal style. Its essence lies in the combination of steppe still register singing technique with academic principles covered with »dome» singing with the participation of all resonators; – Academic vocal style component R. Kirichenko funduyetsya reliance on singing (high impedance), high positions palate, clear close articulation deprived reduced vowels sounds, and varying the combination of different types of vocal attacks (which have expressive value), uniform type of vocal exhalation. In this manner authors performed mostly songs by genre close to romance; – Genuine part vocal style combines R. Kirichenko performing such tricks, »flat» sound in the chest register, a horizontal vector audio message, preferential use of low breast-case vowels are reduced, »crevice» articulation, light, micro ornaments – almost imperceptible and glissando grace notes that precede the long duration zvukoobryvy, speech effects »pulse» distribution breathing, emphasis (to chants) words. In authentic manner R. Kirichenko treats arrangements of folk songs as well – Copyright folk songs directly; – Pop vocal style component R. Kirichenko contains the following settings: neutral larynx, subtony, prydyhannya, warm timbre, intonation hypertrophied sincerity, the principle of »naspivuvannya» averaged (mezzo piano) dynamic gradations. – Characteristic vocal style R. Kirichenko is combined skills of various kinds of vocal sound production (possession of different vocal modes depending on the content of the works performed and its nuances); Among individual performing tricks singer should be noted: – Operation registers (dense sounding middle register »deepening» downward motion transfer sound in chest register, or »removed» in an upward movement by incorporating the main cavity and occasional use of falsetto); – A combination of the two approaches to kadansovyh elongated sounds (filiruvannya or rozkvitchannya last tone in gorgeous attire sound with vibrato effect using diaphragmatic final crescendo and »breakage»); – Reception operation sound density, which is increased by the strong destinies and reduced by the weak (accompanied by an increase in the density articulation portmanteau, weakening »sound pressure» – articulation nonlegato, close to staccato), varying the position of the mouth, which leads to »modulation» with authentic type of vocalizations (neutral position) – the academic type of vocalizations (high position); – The process of prominent singer of the song is characterized by creativity; the creation of true life images close to the average listener and clear it; perfection of performance derived from a large capacity for work, understanding of all stages of the creation of artistic image. – Concerts R. Kirichenko marked sincere, incendiary performance (cordocentrism); stage skills, true artistry and creative intuition, through which almost every work in its interpretation impressive, sometimes reaching a level of artistic phenomena beyond the influence of time. Key words: performing paradigm, images, archetypes, impedance, vocal sound formation, singing attack case, resonator, style, modern classics, Veryovka, technique, talent.

Abstract Karchova Y.I. Sbornyk «Luchshye songs» Raysы Kirichenko: Features vokalno- yspolnytelskoy stylystyky Ocherchena paradigm yspolnytelskoho style Raysы Kirichenko putem analysis IZ songs sbornyka »Luchshye songs.» Keywords: yspolnytelskaya paradigm obrazы-arhetypы, impedance, vokalnoe sound production, pevcheskaya attack rehystr, resonator, subton. Received 11/11/2014

UDC 748 (477.83) A. Bilous

LVIV SCHOOL OF ART GLASS THROUGH SPECIAL ACTIVITIES DEPARTMENT NATIONAL ACADEMY OF ARTS

Problem, analysis of recent research. Ukrainian art glass - bright phenomenon national art with a rich tradition. A significant contribution to its development carried Lviv art school, artistic and educational center of which in 1964 became the department of art glass Lviv National Academy of Arts, which from the beginning of its existence is the only Ukraine, which provides comprehensive professional training in the fields of design, science research and teaching activities. Alma mater of several generations of Ukrainian artists in the midst of which - F. Cherniak, C. Galician, A. beast Drachuk V., N. Petrunina, V. Ryzhankov, E. naked, Robert Hudyma, S. Martyniuk, E. Kosakivsky, I. Onischuk, S. Tymchak, B. Vasilkov A. Gogol, G. Dima, I. Matsiyevskyy, A. Petrovsky, A. Attraction, A. chickens, L. Mandryka, R. Vilyura, A. Shevchenko, A. Jankowski – it is the center of artistic and pedagogical searches revival of traditions and experiments initiated new forms of institutionalization of the artistic process and the presentation of works of art. The relevance of this intelligence is determined primarily by the fact that despite significant contribution to the progress Lviv art school, contextual problems of formation and development department of art Glass LNAM taking into account the latest trends and creativity skloartu Ukrainian modern generation to artists today do not become the subject of special comprehensive study. The importance of the theme due to the fact that creative experience research department opens the way to setting broader theoretical problems of art-school relationship traditions, its institutionalized educational and creative focus and individual creativity. Therefore, the aim of this article is a comprehensive coverage of artistic and educational activities department in terms of formation and essence of artistic and pedagogical paradigm of tradition Lviv school of art glass, art innovations introduction, institutionalization artistic life and the formation of individual creative concepts. Despite the absence of specific studies, still has significant in volume material that forms the basis for the development of the designated themes. In between existing separate group works on the panoramic coverage of the evolution of Lviv in art glass and its history present and intelligence, which highlights certain aspects, certain issues of the department art glass LNAM or analyzed creative artists. The first is the studio Rozhankivskoho V. (1959) [17], which provides an overview history Ukrainian sklyarstva from ancient times to the middle. Twentieth century. Analysis technological bases of creativity process, types and forms of art glass and some problems styletvorennya. Otherwise investigated author (1971) [18] determined the specificity Ukrainian art glass and systematized digit material from its history from the last quarter of the nineteenth to the second floor. 60-ies. XX century. A milestone in the conceptualization of Lviv was hutnytstva monograph F. Petriakova (1975) [15], based on considerable factual material and analytical accompanied conclusions. It is also important that the author focuses on the stylistic features Lviv school, disclosed in a broad cultural context through the work of individual artists. Given the importance of the traditions of Lviv stained glass noteworthy intelligence Zhohol L. (1986) [7] devoted to artistic and architectural synthesis, including the 1960-1980’s. Among the developments of recent decades research note Kara-Vasilyeva T. and S. Chegusova «Decorative art of Ukraine. In search of «grand style» [10], in which one of the sections dedicated Blown Glass trends in the system of national artistic discourse. Priority issues regarding this work acquire labor Lviv scholars, especially in recent decades, free from ideological constraints and based on novovidnaydenyh materials. Amid the recent recall work Yatsiv R. («Modern oksydentsiya art city «[33],» Ukrainian art of the twentieth century .: ideas, events, personalities «[34]) and A. Holubets («Between liberty and totalitarianism» [5]), in which trends Lviv Art School considered in their European identity and national identity in dialogue traditions and innovations wide cultural context XX - XXI century. Enhancing research interest in Lviv hutnytstva general and achievements of the department art glass LNAM particularly in the middle of 1990-2000-ies. Among the prerequisites of this process - catalysed winning national independence Lviv artistic reflection on their own cell Insulation, based on national and European synthesis and correlative philosophical vision. Summarizing the experience of the department contributed to the fact that at this time of creative pedagogical paradigm does not only gained theoretical and methodological excellence, but also showed his povnovartist in Copyright master classes, creative young generation of artists and new forms of institutionalization artistic process, in particular the International Symposium blown glass. Among the theoretical studies teachers LNAM note the work of the famous artist and teacher F. Chernyak, where the achievements of the department considered in the context of the second half Lviv hutnytstva The twentieth century. [26-28]. Pointing to the continuity of artistic tradition, the author analyzes the succession of generations artists, stresses the fertility cooperation department of the Lviv shop Blown Glass keramiko- sculpture factory, explores the impact of technological innovations on solutions and emphasizes shaped of the International Blown Glass symposiums taking place with the participation of artistic and pedagogical staff and graduates. The achievements of this department are covered in professional periodicals. Thus in publications art Shymchuk E. (1995, 1997) [31; 32] creativity and outstanding Lviv artists teachers Bokotey A., F. Chernyak, A. Beast, G. Dima analyzed in the context of domestic hutnytstva second half. The twentieth century. - The beginning of. Describing the artistic achievements recent decades, the author focuses on the impact on the art of the young generation renewed methods of teaching at the department of glass LNAM based International AG Bokotey glass workshops in Lviv, creative students travel to France in the town of Van and La Chatel «Visual introduction to the classics of world art glass» [31; 67]. The role of the department of art Glass LNAM in organizing international symposia Blown Glass and strengthening the image of «Lviv as a leading center of art glass for the whole Ukraine «[2; 93] highlighted in articles F. Petriakova [14] M. Druchenka [6; 85] A. Bokotey, R. whipped [2]. In particular, states that For many years the Department LNAM is the only educational- methodical Ukraine center that provides comprehensive creative, design and scientific training of students and the only similar in Europe, which has glass blowing furnace [2; 92]. Also emphasizes that professors and Faculty participate in all international glass symposia recent decades in the US, Hungary, Russia, the Czech Republic and Poland. An important aspect of the formation of the creative personality of students authors consider adding international experience to the studio glass through the museum collections, including «Glass Museum in Lviv», created by specialists LNAM [3]. To study the achievements of the department treated and young scientists. In particular, a historiography Blown Glass symposiums and analysis LNAM role in their formation given in Article R. Fours [22]. The problem creative assimilation experiences of European sklotvorennya M. violation Chizh [29]. Artistic incarnations Department of educational programs in diploma works of students considered Kopchak C. [11]. Some aspects of the department’s contribution to the development of Lviv sklyarstva covered in books and artistic and critical publications devoted to creativity of teachers and graduates LNAM. Specifically, artistic achievements, organizational and educational activities A. Bokotey investigated in the monograph O. Fedoruk «Maestro Andrew Bokotey Art Glass» (2008) [21]. The critical path Masters influence on the formation of several generations of artists Lvivske note A. Holubec [4] Q. Chegusova [25] G. Andriychenko [1]. A number of publications devoted to artistic and pedagogical achievements one of the beginners of the modern Lviv skloartu, People’s Artist of Ukraine, professor art glass department F. Cherniak [13, 16, 30]. Artistic and pedagogical concept department outlined in surveys creativity of the Beast [8, 12, 19], G. Dima [20] A. Bait [23]. Main results. Building on the tradition of research Lviv school of art glass assume that the formation of institutionalized art-educational branch, which was art glass LDIPDM Department (later - LNAM), as conditioned by external factors, and so immanent laws of artistic process. Recall that in the early 1960s. As experimental art department was opened processing of plastics and glass (1961), and in 1963-1964. completed the creation of the department as an independent structural and functional unit. Its first head was F. Tkachenko. Subsequently Department led by Alexander Sobolev, B. Galician, M. Tarnavskyi and taught Malyshko K., B. Galician, C. Smiyan, V. Hohriakova [28; 20]. In terms of institutionalizing artistic life that was carried extensively in the postwar decade, the organization department and had a clear rationale. The formation of a new unit meets the needs differentiation patterns Institute, bringing its historically There was a system of regional crafts creativity and contributed to providing experts created in 1963 in Lviv ceramic-sculpture factory experimental shop Blown glass art that was «creative and production base sculptors and artists decorative art «[26; 63]. In the years unfolded fruitful cooperation department and master Hutnyk. Specifically, successfully cooperated Bokotey A. and I. Matsiyevskyy, B. and A. Galician Gera, S. and Martynyuk F. Chernyak, IV and V. Drachuk Chaban, IV and VI Shumanskyy Onischuk, P. and R. Vdovych Beetle, Valko and B. Tymchak S., J. and P. Dumych Matsiyevskyy. This art-orientation manufacturing process responsible inherent Lviv decorative folk art synthesis traditions formative searches. It was productive for a new generation of artists who, working in the company, studied in the Department of Art Glass LDIPDM (F. Cherniak Drachuk V., E. naked Tymchak S., E. Kosakivsky, M. Tarnavskyi, I. Onischuk, D. Wruskyj, M. Fuklyev, A. Chub, R. Dmyryk A. Gogol, R. Vilyura, Peter A., I. Matsiyevskyy, R. Hudyma, L. Mandryka). Efficiency Cooperation was provided and the complicity of leading artists from Kyiv and other art centers of the USSR (A. Gushchin, VI Apolonova, D. and L. Shukanov, Urtayevoyi L., P. Ryazanov, Leonid Savelieva, F. Ibragimov, G. Antonova, S. Stepanova, A. and G. John, BA Smirnov, F. Nutovycha, K. Koppel, Didzhunaytite G., C. Berzin, Skrautse, A. Manukyan and others). [26; 65-66]. Formation of pedagogical and creative professional sklyarstva cell zrealizuvalo those formal visions that other kinds of fine arts were under the control of Soviet censorship. Pozasyuzhetne and non-figurative, and therefore unfit for the introduction of «socialist realism» ideas, decorative-applied art realm was that «relative freedom» in which the young generation listened experience modern artists of the century and vidnahodyla original author’s decision. According to A. Holubets in Lviv «this breakthrough creative energy, which later evolved into powerful artistic direction, took place primarily in the field of ceramics «[5; 86]. Next were territories art glass, which in 1970 - 1980’s. LDIPDM graduate talent blossomed - A. Bokotey F. Chernyak, Boris Galician, V. Ginzburg, M. Tarnavskoho I. Onischuk, E. and Kosakivsky al. Then note that the activities of the Department of Art Glass not only contributed to the development of Lviv hutnytstva, but «conservation in a totalitarian society based on free creativity» [5; 102]. Initiated in 1960. Formative experiments covered the following decades not faded throughout the Soviet period, facilitating the transfer of «center of main events in «Arts and crafts» [5; 102]. In terms pidtsenzurnosti not only creativity, but also aesthetic discourse theoretical reflection process was outlined concept «Decorative», through which «saved some local flavor, incredibly extended narrowed «official» search range of formal and unique artistic individual the expression «[5; 87]. There was in the field of ceramics, glass, textile art, this concept spread to other artsand determined the distinctiveness of the Lviv branch of art in the second half of the twentieth century. Correlative historical logic of fine arts in Lviv institutional, artistic and ideological determinants becoming department chair and reflected in artistic glass artistic and pedagogical concept based on: the relationship of art with philosophical search visions; updating traditions of national culture, perceived through the prism of European artistic experience of the twentieth century .; orientation to practical mastery of technical and technological means for disclosure as deeply creative idea and expand the range vyrazovyh opportunities. These settings pierced all stages of the learning process, defined its structure and vidkrystalizuvalys LNAM graduates in the works. Throughout the history of the department, in the Soviet ideological pressure and subsequent social and cultural transformations were carried out organizational measures to perform declared artistic problems. Thus, to improve technical and technological training of students and mastery of practical skills in the material, in 1973 the department was artistic glass built only in Ukraine educational-experimental glass melting furnace. The cooperation of leading packaged Blown glass specialist shop Lviv experimental ceramic-sculpture factory: S. Birch, M. Zavadovskiy, J. Matsiyevskoho, S. Tymchak and others. In 1975 a laboratory for glass melting process, which was an important step in improving the educational process. Significantly, the mastery of technology and are based on finding imaginative solutions was associated with the adoption of identity Lviv art school, for which formal perfection arose ideological categories that focused relationship with the artistic experience pre-Soviet times. Strengthening national dominant educational process and continuity of traditions contributed to the fact that the department taught art glass masters who had personal experience Warsaw, Krakow, Vienna, Munich or Paris, or their immediate disciples. The leading role belonged Ukrainian painter, organizer company «ARTES» (1929-1935) and the Association of Independent Ukrainian Artists (ANUM) R. farmer. Outstanding painter, intellectual, carrier pre-war Lviv’s culture, he trained a generation of artists that continued the tradition of art school. Value gained not only formal communication but also recitals taking place in Roman dwelling and Mahrit farmer and classes in «night school» student master K. Zvirynskoho. In particular knows that its future luminaries visited Lviv hutnytstva and teachers of the department A. and B. Bokotey Galician [5; 84-85]. In addition to personal development, R. farmer graduates Department owe keen understanding of color, her visual awareness capabilities. An example is the student of the master, professor of F. Chernyak, where subtle understanding of the material and form combined with maestriynym expressiveness using color. Povnovartosti ideological searches of students and graduates contributed to the fact that mastery of practical skills was combined with theoretical knowledge of art history. In particular, the traditions of Lviv glassworks for many years promoted the famous art critic, Professor F. LNAM Petriakova. In different periods and the department shall graduates today Scientific research work on the history of art glass. The topics of dissertation studies «Ukrainian art glass XVII-XVIII centuries .: exponent of figurative and decorative concepts Baroque «(R. Kobarenko, 2006), «Lviv school of art glass of the twentieth century. Experimental methods of forming and decor: Theory and Practice «(M. Chizh, 2005),» glass city Copyright 1980-1990-ies. in the context of current artistic processes «(R. Demeschenko, 2003),» Copyright glass city late XX - early XXI century .: Art and figurative language, integration processes «(M. Fourier, 2001). An important aspect of Lviv school of art glass works was contextualization in the urban environment. Obviously, this intention meets the essential characteristics of Lviv culture, its paradigmal aesthetic and structuring unique orientation for approval urban style. The activities of creative teaching staff of the department that has historically defined the vector konkretyzuvavsya artistic development in the creation of complex design diploma projects residential and public interiors using three-dimensional compositions, chandeliers, sconces and the formation of a new specialization «Art of stained glass» (opened in 2004) [28; 49-51]. Overall state that from the founding and early 1990s. Kafery staff held a long way, and its pedagogical concept, as well as the work of teachers, students and graduates reflected the evolution of the Lviv Art Glass the second half of the twentieth century. Faithful national traditions and capacitive semantic content, it reached a new level obrazno- associative generalization of abstrahuvalasya uzhytkovosti, technical and absorbed experience of transformation technological methods in magma fascinating art. Final contours has become a trend in next decade, marked individualization copyright and bold statement formal experiments. Q. By Remark Chegusova in respect of the relevant period talk about contextualization vidchyznyanyh artistic events in the international movement «studio glass» which emerged in the mid- twentieth century. both in Europe and the US [24]. A new stage in the history department and department of art glass steel LNAM 1990-2000 gg. related to obtaining state independence and economic challenges. Getting rid of ideological restrictions legitimize a formal search that never fading in Lviv, prytyshenoho and only became accustomed to Soviet conditions expression. Soon there were possibilities creative contacts and cooperation with artists abroad. Not by chance, at this time, despite economic turmoil and closure of ceramic-sculpture factory, on the initiative of the department of art A. Bokotey glass and new forms of exchange of artistic experience that significantly affected educational process and professional development of young artists. Thus, from 1989 under the auspices of an international symposium held LNAM blown glass, gained world of art. Accompanied by exhibitions, lectures and creation at the kiln, during which the audience in front of the warm volcanic masses appear wonderful, whimsical structure, they form a space of artistic freedom, singled out from routine and transforming it in turn. According to the Rector of the Academy A. Bokotey, workshops are a school artistic experience, familiarity «with the development of art for the eastern border of Poland and now has the entire European Union, «and students» have the opportunity to see living classics «[34]. A series of workshops held at the Lviv ceramic-sculpture factory and LNAM workshops. VII - the «hot» shop Berezhany Glass. VIII - the enterprise «Galician Glass» (p. New Yar Yavoriv district), the new partner of the Academy and the production base Lviv hutnytstva. Participants of the action are well-known artists from around the world (Semedo, Jiri Shuhayek, Marvin Lipofski, Janos Yeheneysh, Mikko Merikallir, Matthew Durant, Robert Emerinher, Janos Yeheneysh, Fidel Ibragimov, Mark Yekstrand, Kai Koppel, Vivi-Anne Keerdo, Bidart Wendel, George Lemper’ye etc.). In the latter, IX symposium was attended by artists, art historians and representatives of educational institutions in Europe, USA, Mexico, Japan and Ukraine. Total of 1989 joined the action 200 artists from 29 countries. The results of the furnaces at the exhibition unfolded, and each participant left the gift of work «Glass Museum» collection which includes over 300 units. Since 1992 stocks combined with International Student Symposium on Blown Glass participation of young European artists and exhibitions LNAM graduates. So, this year the exhibition «Young Ukrainian glaziers’ Inhabitants saw stained hutu and graduates last f’yuzinh Decade: A. Borovik, A. Ivanyshyn, Kinash O., E. Bilous, V. Melnychuk D. Struk, E. Tryntsolyn, R. cattle. Another achievement Bokotey A. - «Glass Museum», founded in 1992 assembly consists of two parts - the historical exhibits which date back to the I-twentieth century., and contemporary, which presented the author participants of the International Symposium blown glass. In addition, the collection includes designs Products Lviv Production Association «Rainbow» Lviv experimental keramiko- sculpture factory, plant and Lviv Stryi Glass № 1. According to A. Bokotey «as organizational structure, the museum project aims to provide active four areas - education, research, and exposition information «[2; 93] and is that views art industry, without which the development of training and tradition. Returning to the question of personnel department upgrade, we note that at the end of 1990 – a 2000s. Yankivskyy it joined the A. O. Attraction, A. Shevchenko, Ivan Streltsov, Peter A. et al. From 1994 to 1997 the team led by A. Bokotey; in 1994-2004. - A. beast; from 2004 - B. Vasyltsiv. Department history is inseparable from the creative work of teachers, which echo and traditions crystallized priorities of artistic progress. Note that the development of the school of art glass within LNAM as a whole in Lviv, characterized cumulativeness, through which the brave creative experiment does not deny the achievements of the past. Check integrative forces traditions contributes to the fact that the department taught art glass artists of different generations from luminaries postwar hutnytstva to recent graduates. In addition, the work of each master is certain evolutionary stages that reflect the development in Lviv glassworks. Thus, in the works of one of the patriarchs of art glass F. perfect knowledge Cherniak material and «gold stock» professionalism combined with bold experiment. Creative master path began in the 1960s. When faced decorative art for the city relentless search. Working in a pilot plant Blown Glass, master stressed features art production and its sculptural quality that does not contradict the utilitarian purpose items (dishes shaped «bird», 1964). Pupil R. Selskyi in 1966- works 1979 (decorative plates «Red Poppy», «green flower» candlesticks «Radiant» figures «Owl», «Pigeons») he found coloristic effects, and full of fine nastroyevosti uvyrazneni plastic products. In the 1970’s. Skill grows complicated associative-shaped structure, there compositions based on differentiation skloform internal space. At the same time, the artist appeals to interior glass aesthetic end in itself and structuring the environment. The second half of 1970 - beginning of 1980. Plasticity of finding and testing possibilities of glass in combination with other materials. Aiming associativity, master invents new technology and decorative effects is the introduction of molten glass metal salts. Along with a color expressive «Spring» and «peas» at this time there are compositions, are open to the maximum interpretive field, based on the magic of glass («Metamorphoses», 1982). Philosophical reflection artist materialize in «Tunґuskomu meteorite», «crater», «coral», «space», «birth matter» full of mysterious energies of nature - physics. Significantly, along with pulsating, as if living skloformoyu «compulsory character» works is light osmyslyuvane as the highest spiritual essence. In the compositions of the 1990s. - «Dialogue», «blowers», «Madonna», «Icarus,» «Mask», «Lviv Mrs. «,» profile «made in the modernist concise technology, with maximum expressiveness possibilities of glass, the images of human faces in opovytti legends of old Lviv, mythological associations or meditation master of the maintenance of life. Piercing laconic expressiveness of image amounts in the compositions on biblical theme, in which the external shape is perceived as a sign, symbol, reflects semantic transcendence of human life («Crucifixion», «Faces»). Illustrative of the evolution of aesthetic paradigm works Lviv became the second hutnytstva half of 1990 - early 2000- ies., by differentiating internal space converted to value in themselves artistic worlds. Associativity and nastroyevistyu designated number of works formed by blowing glass in metal frames. In particular, the song «Manhattan 2001» created image ghost city space that emerges in the dream-memories or fantasies. Performed using pouring a glass contour copper foil «Portrait of the composer» is associated with inspiration divine complicity that vmotyvovuye art service. The development of artistic and pedagogical concept art glass department LNAM reflected in graduate achievements in 1981 and now a professor and one of the leading glass artists Lviv A. Beast. Creative artist formation comes at a time when the field Lviv hutnytstva vidkrystalizuvalys basic creative concepts, and freedom has become paradigmatic formovyrazu value. Not by chance, the artist’s first compositions are marked In so shaped associativity maestriyeyu construction and technical performance that accumulated development Lviv school previous decades. Concise, color expressive, internal dynamic based on the latest technological advances are whimsical and ironic, like the aesthetic of the game, refer to Ukrainian culture archetypes («Two»). Wizard interest the symbolism of color, its powerful ability smyslotvorcha. In particular, the the song «Black and Red» («Black so sad, so deep and mysterious, red for life «), he becomes subject to an independent art space, generating a number interpretations and calls for spivbuttyevosti. Conceptuality, reinforced allegories and metaphors - another characteristic creativity artist. Thus, in the song «Catastrophe» plant-flexible environment upolonena ghostly figure recalls kintsevist human life and eternity circulation of nature. Another feature works A. The Beast - unalezhnena shrill discourse postmodern subjectivity based on imaging perceptions, images of consciousness, deeply personal residence life. In general, free Dialogism regarding previous achievements, courage shaping and individualization author expression suggests that the best works of O. Beast proves structuring Lviv Blown tradition of vidrefleksovanu, povnovartisnu maturity. Examples of further subjectivization of artistic discourse, in which three-dimensional structure becomes a thorn spivbuttya author and perceiving, and complex new technologies acquire elusiveness in imaginative thought, creativity is a student Bokotey A. and A. Beast, teacher art glass department LNAM Attractions Orestes. Based on the ancient Ukrainian art motifs, including trypillya author creates plastic structure, in tune with the inner world audience, in interpreting and dovershuvani infinitely open to new interpretations. Noteworthy is the fact that the ancient symbols (earth, fire, air, vitality), preserving the original meaning, become self-sufficient in graphics elements in conjunction with the form vykrystalizovuyut unexpected, purely plastic content («Adult Games «, 2000). The author proposes to create their own symbols - a kind of tools «Imaginary museum» (A. Malraux), integral worldview of an educated man and art of the twentieth century. Many of O. Attractions encourage the associations, the game of cultural contents, updating certain contexts. However, rational basically the audience combined with search immediate, emotional perception plastic features work, his piercing transparency, prytyshenoyi matte, internal tensions or monumental harmony. Based on the full cost plan and virtuoso possession of the latest technologies, this feature works of masters reflecting the conflict «rational» and «irrational» inherent in the art of the twentieth century. Special page artist creative form of childhood images are reproduced with the uneasy position adult experience. Lost Tale, imprinted memory in detail, colors, forms – such figurative aspect in common «Whirligig» (2004) and «Children’s Games» (2010) with capricious prustivskoyu prose. Using the expression opportunities glassworks, O. bait tempts the viewer to dive into memories, feel their materiality, touch zalotavoho by Dziga this subject. At the same time, the master underlines the illusory nostalgic dreams: graphic, almost monochromatic cubes-palaces «children’s games» are fragile and prustivski magic reflection revolve G. Hesse. Another theme A. Attractions - interaction of glass and space, glass and interior. Typical for stained glass, it takes on new meaning, oduhotvoryuye building, giving it a sad, pensive or cheerful mood, light and variable power over time. In addition to the constitution of the architectural environment, stained glass Attractions encourage songs A. associative interpretation evokes tragic facades Van Gogh and luminous «Rouen Cathedral» Monet. We believe that such combined services Interpretive becoming the best artistic image shows innovativeness Search Wizard Lviv rootedness and art glass in the new times artistic discourse. Conclusions. Thus, we can state that the formation of artistic and pedagogical focus Lviv hutnytstva - Department LNAM art glass, reflected institutional, artistic and outlook requests Lviv decorative art. In the institutional aspect of it provided creative improving industrial relations LDIPDM with Lviv and enterprises uvidpovidnylo range of specialties historically originated in the region of decorative system creativity. In the worldview - that created a realm of creative freedom, which in the Soviet censorship kept the possibility unbiased search. In the artistic plane orientations - there was an organizational guarantee to preserve the traditions of Lviv hutnytstva: relationship artistic quest of philosophical visions; reflection of national culture heritage through light of the experience of European art of the twentieth century. and the latest trends in sklotvorchosti; orientation to practical mastery of technical and technological means of artistic sklyarstva Disclosure for creative design range vyrazovyh and expansion opportunities. It is also important that the evolution of artistic and pedagogical concepts the department and its work teachers and graduates reflected the main trends Lviv school of art Glass in the second half of the twentieth century. uzhytkovosti on her way to a free image-associative search specified in the motion «studio glass».

References 1. Andriychenko G. Steps artistic thought: the line, glass, shape / AG // Fine Andriychenko art. - 2005. - Part 4. - P. 30-33. 2. Bokotey A. Glass Museum: transparency existence / Bokotey A., R. whipped // Fine art. - 2001. - Part 1. - P. 92-93. 3. A. Bokotey world center of glass - we / A. Bokotey // Ukrainian culture. - 2001. - Part 6 - S. 16-17. 4. Holubec AM Depth glass (Andrew Bokotey - 60) / OM Holubec // Fine art. - 1998. - № 2. - P. 77-78. 5. A. Holubec between freedom and totalitarianism: monograms. / A. Holubec. - LA: Academic rapid, 2001. - 172 p. 6. Druchenko M. V International Symposium Blown Glass / M. Druchenko // Fine art. - 2001. - №3. - P. 85. 7. Zhohol LE Dekoratyvnoe sovremennom Arts in Interior / LE Zhohol. - K .: Builder, 1986. - 200 p. 8. I went Huta Olesya B. Beast / B // I went Visual Arts. - 2009. - № 3. - P. 44. 9. A. Kalish faculty of arts and crafts: history and current status / A. Kalish // Bulletin LNAM. - 2008 - Vol. 19 - P. 4. 10. Kara-Vasilyeva T. Decorative art of Ukraine. In search of «grand style» / T. Kara- Vasiliev, S. Chegusova. - Kyiv: Lybid, 2005. - 280 p. 11. S. Kopchak Decorative Applied Arts diploma works of students in the department art glass Lviv National Academy of Arts: the tradition and new trends / C. Kopchak // http: // arr.chnu.edu.ua 12. Kravchenko J. Alexander Red and Black Beast / Kravchenko // J. Bell. - 2002. - № 4. - S. 159-161. 13. Notes F. Petriakova Exhibition Franz Cherniak / F. Petriakova // Visual Arts. - 1981. - №3. - P. 29. 14. Petriakova F. First All-Union Symposium Blown Glass / FM // Fine Petriakova art. - 1990. - № 1. - P. 14-16. 15. Petriakova F. Ukrainian Blown glass / F. Petriakova. - K., 1975. - 160 p. 16. appendages T. blown glass Franz Cherniak / T. appendages // art criticism autograph. - L .: LNAM League-Press, 2010. - P. 88-96. 17. V. Rozhankivskyy Ukrainian art glass / V. Rozhankivskyy. - K .: Izd USSR, 1959. - 151 pp. 18. Rozhankovskyy V. Glass and artist / V. Rozhankovskyy. - M .: Nauka, 1971. - 99 p. 19. Creativity R. Alexander Semeniuk Beast: thematic searches and technological innovations / Robert Semeniuk // ethnology notebooks. - №4 (112), 2013. - P. 757-761. 20. Stelmashchuk G. Roman Dmytryk / AG // http://roman-dmytryk.com.ua Stelmashchuk 21. O. Fedoruk Maestro Andrew art glass Bokotey: monograph / O. Fedoruk. - K.: Lybid, 2008. - 320 p. 22. Fours R. Blown Glass Symposia in Lviv: history of formation and activities / Fourier R. // Bulletin LNAM. - L .: LNAM, 2010. - № 22. - P. 91-99. 23. cornet Arts Orest G. Attractions: idea-form image // Visual Arts. - 2012. - №1 / 2. - P. 84-85. 24. Z. Decorative Art Chegusova Ukraine late twentieth century .: 200 names. Album Directory / Q. Chegusova. - K .: YUMSI Atlanta, 2001. - 511 p. 25. Z. Chegusova glowing glass master and philosopher: AA Bokotey / S. Chegusova // Culture and life. - 2002 - 13 February. - S. 3. 26. Chernyak F. On the development of Lviv glassworks / Cherniak F. // Bulletin LNAM. - 2002. - Vol. 13. - P. 63-67. 27. Chernyak F. On the development of Lviv glassworks / Cherniak F. // Bulletin LNAM. - 2003. - Vol. 14. - P. 80-83. 28. Chernyak F. Lviv blown glass the second half of the twentieth century: Outline history. Training a guide for students of art schools / F. Chernyak. - L .: LNAM, 2006. - 161 p. 29. M. Chizh glass Lviv copyright in the context of European trends Glass Art (1980-2001 gg.) / M. Chizh // ethnology notebooks. - № 2. - L .: National Academy of Sciences of Ukraine, 2001. - S. 340-347. 30. Siskin M. Franz Cherniak creative personality in the context of the Lviv school art glass / M. Chizh // Bulletin LNAM. - L .: LNAM, 2008. - № 19. - P. 295-303. 31. Shymchuk E. «We are in the world as a state art» / E. Shymchuk // Fine art. - 1997. - Part 2. - P. 67-68. 32. E. Shymchuk art glass in Ukraine / EM // Shymchuk Artania. - 1995. - P. 34-36. 33. R. Yatsiv Modern Art oksydentsiya city / R Yatsiv // Visual Arts. - K .: Sofia-A. - 2007. - №2. - P. 10-11 34. R. Yatsiv Ukrainian art of the twentieth century .: ideas, events, personalities / R Yatsiv. - L .: Inst Ethnology of Ukraine, 2007. - 246 p. 35. Lviv Blown Glass Symposium started in Warsaw. http://infolviv.com.ua

Summary We study the creative activity of the department of art glass in terms of determinants LNAM formation, nature creative and pedagogical paradigms contribution to the development of Lviv school traditions art glass, art innovations introduction, institutionalization and artistic life forming individual creative concepts. Key words: Lviv school of art glass, blown glass, Blown Glass Symposium, pedagogical and creative concept.

Summary Bilous E. Lviv school of artistic glass is through the prism of activity of the special department of the National academy of arts We study the creative activity of the department of art glass LNAM determinant in terms of development, the essence of creative pedagogical paradigm contribution to the development of traditions of Lviv school of art glass, art introducing innovations, the institutionalization of artistic life and the formation of individual creative concepts. It is noted that a significant contribution to its development carried Lviv art school, artistic and educational center of which from 1964 became the department of art glass Lviv National Academy of Arts, which from the beginning of its existence is the only one in Ukraine that provides comprehensive professional training in the areas of the project design, research and educational activities. Alma mater of several generations of Ukrainian artists, among them – F. Cherniak, C. Galician, A. beast Drachuk V., N. Petrunina, V. Ryzhankov, E. Naked, Robert Hudyma, S. Martyniuk, E. Kosakivsky, I. Onischuk, S. Tymchak, B. Vasilkov A. Gogol, G. Dima, I. Matsiyevskyy, Peter A., A. Attraction, A. Chickens, L. Mandryka, R. Vilyura, A. Shevchenko, OH. Jankowski – it is the center of artistic and pedagogical searches revival of traditions and experiments initiated new forms of institutionalization of the artistic process and presentation of artistic works. Despite the absence of specific studies, still has significant scope for the material that forms the basis forthe development of the designated themes. In between existing separate group works on a panoramic coverage of the evolution of the Lviv Art Glass in its history and present and intelligence, which highlights certain aspects, certain issues of artistic glass department of the National Academy of Arts, or analyzed the work of artists. The text analyzes the contribution of a number of researchers in the development of this issue. Analyzed the organizational and pedagogical changes in the structure of the department during the period of its existence, discussed the tasks that confronted the staff at each of the stages of historical development. Emphasized the fruitful cooperation department staff, for example, with masters blown glass; provides a list of the most prominent specialists in this field. Emphasized that the creative interaction of department staff and practitioners have mutual outcome, and in fact enriched some, and others. An important aspect of Lviv school of art glass was contextualization of works in the urban environment. Among the most notable events department staff were international symposium blown glass, art became a world level. A series of workshops held at the Lviv ceramic-sculpture factory and workshop of the National Academy of Arts. VII – the «hot» shop Berezhany Glass. VIII – the company «Galician Glass» (p. New Yar Yavoriv district), the new partner of the Academy and Lviv hutnytstva industrial base. Since 1992, the combined shares of International Student Symposium Blown Glass involving young European artists and exhibitions graduates LNAM. Another achievement of the team – «Glass Museum», founded 1992 collection consists of two parts – the historical exhibits which date back to the I-twentieth century, And contemporary, which presented works of participants of the International Symposium blown glass. In addition, the collection includes samples of Lviv Production Association «Rainbow», Lviv experimental ceramic-sculpture factory, plant and Lviv Stryi Glass number 1. Analyzed and artistic achievements of the most prominent representatives of the staff of the department. Key words: Lviv school of art glass, blown glass, blown glass symposium, educational and creative concept, cooperation, development concept, artistic achievements, exhibition activities, intercultural contacts, Lviv National Academy of Arts. Abstract Belous E. Lvovskaya school skvoz artistic glass prism activities spetsyalnoy the department National Academy of Arts Creative Activities Yssleduetsya the department artistic glass in two main ways in LNAY Formation factors, Essence tvorchesko and educational paradigm, contribution to the development traditions school artistic glass, Introduction hudozhestvennыh innovations ynstytutsyonalyzatsyy hudozhestvennoy life and the formative yndyvydualnыh tvorcheskyh concepts. Keywords: lvovskaya school of artistic glass, glass vыduvnoe, symposium vыduvnoho glass, Creative Teaching- concept. Received 04/12/2014

UDC 79.2, 78.2 A. Kornutyak

LVIV NATIONAL ACADEMIC OPERA AND BALLET THEATRE MI. S.KRUSHELNYTSKA (1900-2014 YEARS.)

Cultural life is difficult to imagine the city without the Lviv National Academic Theatre Opera and Ballet. Krushelnytska. At all stages of its development was avant-garde music and theater theater life not only in Ukraine but also the first in the territory of Austria-Hungary, and later – Poland Soviet Union independent Ukraine. And each piece as if time Lviv Opera reflected the political life of the state, became her spiritual person. And this testimony repertoire each theater season. In general, the issues of L’Opera accessed musicologists such as A. Tereshchenko («Lviv Opera and Ballet. Franko»), Alexander Palamarchuk («Musical performances Lviv theaters, 1776-2001; «The world is my interest»), and L. Kyyanovska, T. Mazepa, L. Miller, A. Solinska-Zahuta A. Vypyh-Havronska and in.1 Some of them served source- base for research and writing of this article, which - to outline activities Lviv Opera Theatre since its creation (in 1900) to the present and remember premiere performances given period and their artists. Despite the fact that some articles of this Newest reflected, it still remains to be developed. Before the war (1900-1934 gg.) In the repertoire of the Great City Theater (since then called Theater) dominated by the works of Western European classics («Il Trovatore,» «La Traviata» J. Verdi, «Carmen» Bizet, «Lucia di Lyammermur» Donizetti, several operas by Richard Wagner). Not paid attention and world masterpieces of Russian classics («Eugene Onegin» by Tchaikovsky, «Boris Godunov» Mussorgsky). 1921 was first staged ballets - «Swan Lake» by Tchaikovsky. 1934 House turned its activity due tofinancial difficulties. With the establishment of Soviet authorities at Western in September 1939 raised the issue of creating in Ukraine Ukrainian stationary state opera and ballet. By order of Ukrainian Government SSR of December 20, 1939 Large city theater was renamed the Lviv State Theatre Opera and Ballet with its subordination of the Ministry of Culture of Ukraine. Theater and Ballet troupe, orchestra, choir alumni replenished Kyiv, Kharkiv, Odesa, Lviv conservatories. The post of first conductors were invited Mikhail Pokrovsky and M. Goncharov. By the repertoire included operas by Ukrainian composers - «Nedorosl» Lysenko and «Cossack beyond the Danube» Gulak-Artemovs’kyj. Season 1940-1941 gg. Became creative start work. It started a good tradition continued in the postwar years. During the German occupation of Lviv remained the center of musical and theatrical life in Ukraine. Artists patriots decided to organize a Ukrainian theater. The team was headed by A. Petrenko. Artistic director elected V. Blavatsky, music director - prof. L. Turkevicha, literary - G. Sorb [9; 57]. In the span of history Lviv was famous opera productions not only famous operas of Mozart, Weber, Spontini, Rossini, Bellini, Wagner, Verdi and productions and rarely performed works of authors - Scarlatti, Salieri, Gluck, Hasse, Yomelli, Power. Many operas set immediately after their Premier. Some operas were not only the original language, but also a beautiful Ukrainian translations Yu Shkrumelyaka, Vorona, Olesnytskoho Ye, Y. Stadnyk. On the Ukrainian operas performed «Cossack beyond the Danube», «Natalka Poltavka» and opera-minute Lysenko «Nocturne.» In designs corpses had a dream to make a statement of all operas Lysenko the 100th anniversary of the composer [9; 75-76]. In the first postwar year, work began on a new team. As best forces L’Opera emigrated to the West, to participate in the preparation of the first performances of Kyiv and other cities of Ukraine came singers, conductors, artists, directors. The artistic director Theater became the honored artist of Ukraine Mikhail Stefanovich, transferred from Kharkiv [6; 78-79]. The first requirement in the selection of staff and the repertoire was «Soviet position» and the spirit of socialist realism. But not relying on any staged canons give artists Lviv Theater Life stage new works, has just written by the authors. Often - this order Ukrainian composers. And the first scene of many operas became the scene of Lviv Opera, first performers - actors and directors - Inhabitants. For 60 years after the war more than 250 times been raised the curtain on the premiere performances. Some opera received second reading by theater artists and soloists, back to new music life. 1950 marked such productions as «The Masked Ball» J. Verdi’s «Romeo and Juliet «Gounod» Lakme «L. Delibes,» Iolanta «by Tchaikovsky. For the first time in the USSR forces Artists of Lviv opera was performed opera «Dalibor» B. Smetana. In 1956, the premiere Opera «Towards the Sun» Kos-Anatolskyi in 1957 - premiere of «Forest Song» B. Kyreyka. Tradition theatrical collective focus is on the development of the national repertoire and foreign classics. Each season occurred opera or ballet [6; 101]. Success theatrical activities contributed conductors Kolessa M. and A. Soltys, director B. Mandziya, artist F. Nirod. Full-time work came to Lviv Theater L. Rudenko, S. Goncharov, P. Karmalyuk, A. Darchuk, V. Kobrzhytskyy. To participate in some performances Hmyrya invited B., S. Gaidai, M. Litvinenko-Volgemut, I. Patorzhynsky. In the centenary of the birth of the great Ukrainian writer Ivan Franko 25 August 1956 the theater was named Bricklayer. And the orders of the Ministry of Culture of the USSR September 19, 1966 for significant creative achievements Theatre got the status of Academic. Since the 60 th century. The repertoire every year there are operas and ballets, the original source which are works of Ukrainian classical literature. Displays this list of opera «Stolen Happiness» Meytus J. (1961). In 1966 there was also premiere V. Kyreyka «On Sunday morning» (in based on the works Kobylanska) [6; 125]. A place of honor in the repertory of opera J. occupied. Verdi («Don Carlo,» «La Traviata») restored the prewar operas «Don Pasquale» Donizetti «Pearl» Bizet. New trend in solving performances breathed M. Kabachek invited for the post of chief director. Seven-year work professional and political provocation resulted in dismissal. By conductor Yu was already Lutsiv. The success of opera and ballet productions of artists provided Nirod F., A. Salman, E. Lysyk and performers S. Babiy (dramatic tenor), N. Bogdanova (mezzo-soprano), T. Bratkivska (soprano), A. Wityk (bass-baritone), A. Vrabel (lyric-dramatic baritone), V. Gerasimenko (soprano), P. Krynytska (soprano), V. Ignatenko (tenor), P. Karmalyuk (baritone), B. Kobrzhytskyy (tenor), Yu Lysyansky (tenor). In the theatrical season of 1970 creative team L’opera continues enrich their repertoire. For the first time in the Soviet Union was asked opera «Ernani» J. Verdi, preformed in Ukrainian. There’s opera «The Magic flint» (1975), «Three Fat Men «(1979) I. Yuzyuka. But the most significant event was the staging of the opera «Golden Ring» B. Liatoshynsky (second edition). Opera has become a landmark not only for the Lviv theater, but also national musical and theatrical culture [9; 135-137]. In 1971 performance and its creators: Lutsiv conductor Yu, director D. Smolych, by E. Lysyk awarded the State Prize of Ukraine. Taras Shevchenko. The last staging in Lviv Opera, which conducted Lutsiv Yu, was the opera «Khovanshchina» Mussorgsky. In the prime of fame, world famous maestro, not agreeing with Artists attitude to local government, left the theater and started teaching and concert activities. 1975 for the post of artistic director and chief conductor of the I. approved Latsanych. The artist had a great experience in the opera: a decade in Lviv was an intern and conductor-producer, then - in the Theater. Vladimir Nemirovich- Danchenko Moscow. He carried out a number of productions at the Theater. S. Kirov in Leningrad. For a long time the head of the team (as artistic director) at the Donetsk Opera House. I. Latsanych knew the specifics music theater [6; 324]. Under the direction of Theater Latsanych 1974/1975 season was completed. New production of the opera «La Traviata» J. Verdi, for which the director was invited to the Bolshoi Theater Morozov, who put a lot of effort to create organic, coherent, dramatic performances, in which the principal is fair play intimate drama characters: singing Violetta V. Chaika, T. Bratkivska, L. Bozhko; Alfred - R. Witoszynskyj, V. Ignatenko; Germont - A. Vrabel, G. Kuzovkov. The new «La Traviata» Staged and distinguished by high performance culture, so it is no surprise that long play time was in the repertoire, always embellishing his touring poster (Lviv troupe exported this opera in Odessa). In 1978 in the theater room began repairs. There was little decline theatrical life. Not all performances were indicative, not all satisfied and directors, and viewers. Creative Search restricted conditions «on wheels». But the main reason was personnel issue. The staff replenished almost no staff at the opera or ballet. Maintenance visiting artists lacked resources and housing. 1984 opening of the theater building renovated. During the year, Prime was not. We had to ask again for plays, which because of its magnitude is not treated in unsuitable «foreign» stages and subject to recovery. Returned to life the opera «Eugene Onegin «by Tchaikovsky,» Cossack beyond the Danube «Gulak-Artemovs’kyj. At the same time, I. and Latsanych E. Lysyk begun implementing long-standing dream - setting Prokofiev opera «War and Peace». The premiere took place in May 1985 and became a creative flight of theatrical collective [6; 359]. 1986 premiere of the opera «Olesko ballad» B. Yaniv. New reading and received opera «Khovanshchina» Mussorgsky «The Tsar’s Bride» by Rimsky-Korsakov, «Golden Ring» B. Liatoshynsky «Tanhoyzer» (on the posters «Tannhauser») Wagner, «La Gioconda» Ponk’yelli. For the first time delivered in Ukrainian opera «Falstaff» John. Verdi. The opera company was represented in this segment of creative activity such performers as N. Velichko (mezzo- soprano), G. Dovzhenko (bass), Vladimir Dudar (bass), I. Kushpler (baritone), N. Freedom (mezzo-soprano), S. Stephen (baritone), T. Polishchuk (contralto), S. Tarasovych (baritone). 1988 in the theater conceived the idea to hold a festival of opera them. Krushelnytska. And the festival was held in November (18-27) 1988 g. Lviv got singers and conductors, critics and musicologists from different cities of the USSR, actors from Poland and Hungary. Central to the show at the festival took opera performances, which acted Krushelnytska. The final chord of the Opera Festival named. Krushelnytska was the performance of soloists, chorus Orchestra and L’Opera «Requiem» by John. Verdi. The work was dedicated to the memory of outstanding singer. Solo parties complied People’s Artist of Ukraine L. Bozhko, Honored Artist of Ukraine N. Liberty, winner of the contest A. Polyansky, K. Syatetskyy. 50 Opera season closed premiere of the opera «Othello» J. Verdi (1990). The new creative rise took place in the team with the appointment in 1995 to the position of art R. Dorozhivskoho head. Immediately after prym’yery opera «La Boheme» J. Puccini attitude to Lviv Opera team has changed dramatically. The best evidence was that the first performances could not get to all comers. R. Dorozhivskyy, native from Lviv, is a disciple of the celebrated conductor School M. Kolessa. For a long time internship in Kiev Turchak. After returning to his native city, energetic, in the best sense of the word - theatergoer becomes master of the theater house. With enthusiasm and zeal began to deal with the implementation of iron discipline. For a short time the requirements conductor and director actors revealed hitherto unknown features. The orchestra has become an equal member performances. As shown «La Boheme», Lviv opera entered the European level. Performances R. Dorozhivskoho reminded the audience that he is both spectator and opera - not «series concert room theatrical costumes «but real drama, and the viewer has to be an accomplice of action. But not all were satisfied innovation artistic director. Created a negative image caused R. Dorozhivskoho resign [5]. 1998 theater was headed T. Eder, one of the most active participants in the musical and social life City. He spent nine international festivals «Virtuosi», three international opera competitions singing them. Krushelnytska, was one of the organizers of the international project «Grandi arts «. The artist is working hard revival and spiritual renewal, reproduction cultural traditions of their people. Provides bold creative projects that attracted attention public. Among them - a draft order setting music and opera «Moses» Skoryk (for Franko’s poem). In 2000 T. Eder was one of the organizers of the celebration several dates: 400th anniversary of the opera as a genre and the 100th anniversary of the Lviv Opera. On this occasion the theater was named after the famous Krushelnytska. Initiated by T. Eder Lviv Opera House was the first in Ukraine joined the international non-profit association «Opera Europe». Signing took place in early December 2008 that and greatly enhanced the cooperation with European theaters. Event in the artistic life of the city was the premiere of John. Verdi’s «Nabucco», which stirred Galician capital. The event was extremely resonant, because the play set is known Italian director James. Vishiliya. It was his gift to citizens and creative team to Opera 100th anniversary of the theater. Premiered on March 25, 2000 Continuing the best traditions of Ukrainian and European opera house, theater company Lviv Opera issued in the audience a number of new and updated products. Indicative phenomenon is that the formulation and implementation of best artistic forces involved countries. In 2003 there was a new reading of the opera «Il Trovatore» J. Verdi, whose artistic director spoke Polish Q. Hshanovskyy director (who owned the stage and address the «Moses»). He conducted opera B. Garbaruk, starring L. Savchuk performed (Leonora), I. Kushpler (Count di Luna), M. Pshenychka (Leonora), V. Dudar (Ferrando), A. Danylchuk (MANRIQUE) [2]. Opera was successfully shown in multicultural festival «Galicia» in Poland. 2005 on the stage of Lviv Opera Theatre hosted an updated staging of the opera «La Boheme.» Supervised performance conductor Charles Komatsu from Japan. The role of Mimi sang his wife Christine, Canadian opera singer. Dyryhuyuchy performances he gave a theatrical troupe able to communicate manner performance, which is cultivated abroad. In the creative help you find Choseyi contributed Japanese government cultural grant for the purchase of stage lighting equipment 450 thousand. S [8]. An important event in the theatrical life was returning to stage operas J. Verdi’s «Aida» «Nabucco,» «La Traviata.» The new interpretation of the opera «Masquerade» was the opening of new names. The last time the opera was staged in Lviv 1955 To revive the opera was an old dream I. Latsanych, former artistic director and chief conductor, but it did not come true during his lifetime. In memory of the great masters team Lviv Opera returned to work life. Conductor-producer M. Dutchak used to performance of the opera troupe creativity, has involved all types of votes. In addition to soloists, as a whole operating choir, ballet. In the troupe joined young artists, graduates of the Lviv Music Academy. In and the new theater came choirmaster W. Smith. Directed by invited chief director of public art organization «Art Ukraine» V. Vovkun. Beautiful design performances made art director T. and M. Ryndzaky. In the premiere of young performers were successfully Cavchuk L., A. Lypnyk, R. Trohymuk, Kuryltsiv N., N. Kulagina. The first show demonstrated that the «Masquerade» will be one of the most colorful and spectacular operas in repertory. Opera also held with great success on the stage of the Opera House in Warsaw and Theatre Czech town of changes in September and October 2007 [10]. Significant event theater season in 2008 was the performance of the opera «The Marriage of Figaro» Mozart. However, the events in «The Marriage of Figaro» audience only watched music impacts: most popular Mozart opera in concert version was made with the best soloists Europe. During trampoline famous German orchestra conductor P. Marx Leo polis and seven guest singers tried to reproduce most vividly opera events [4]. Repertory Theatre of L’added another opera - «Love Potion» G. Donizetti, which premiered in late 2011 Theatre’s 2012-2013 season. Was also fruitful. Among opera performances in Lviv stage April 13, 2013 premiere of the opera «The Magic Flute» by Mozart. Dyryhent- director M. Yusypovych drew up the play youth power: A. The planned (the vitamin) Yuri Lysenko, L. Ostashow (Pamina), M. Kornutyak, P. Radeyko (Papageno), A. Kornutyak (Queen of the Night). Directed by S. Hshanovskyy performances. This statement provoked interest and resonance, was a great success. Pleasantly surprised Spectator updated operetta «The Gypsy Baron» by Richard Strauss on Oct. 17, 2013 Conductor of photography Honored Artist of Ukraine Mr. Dutchak, director Robert Valko [1]. 2014 in Lviv opera theater posters were renewed performances: opera «Iolanta» Tchaikovsky ballet «Romeo and Juliet» Prokofiev. Today Lviv Opera and Ballet. S.Krushelnytska - complex creative mechanism in which more than 500 people united by a common purpose - to augment the glory of theater as a team High-European level. Creative warehouse staff - a 45 opera soloists, chorus (60 persons), ballet (50 s) and Orchestra (60). The repertoire of more than 200 operas, ballets and 10 [1]. In recent years, the theater actively toured in Italy, Austria, Poland, Spain, Lebanon, Luxembourg. On success troupe noted in the media. One of the journalists after visiting the Polish performance of «Tosca» J. Puccini said, «Now, «La Scala» moved to the city «[3]. And these words are proof that indeed Lviv Opera level is high. An interesting repertoire, high level of performance, wealth design a theater hall attracts more viewers and among them - many young people «that has brought up to world standards of opera and ballet «[5; 8]. Having examined the repertoire palette L’Opera, we can state that verdiyevski masterpieces occupy an important place in the repertoire; every year in repertoire appears more Ukrainian and European operas. An important event was that the theater won National title and went into the International Association of Opera Europa. This provides prospects opera for the future.

Notices 1 The article mainly rely on research Tereschenko A. and A. Palamarchuk.

References 1. Archive (current) Lviv National Academic Opera and Ballet them. C. Krushelnytskoyi 2. Kyyanovska L. Lviv «Il Trovatore» in the interior of the Renaissance castle / LA // Kyyanovska Lviv newspaper. - 2003. - Sept. 9. 3. Wheels FA Favorite songs of Ivan Franko / F. Kolessa. - K., Arts., 1966. - 135 p. 4. Kochubey A. «The Marriage of Figaro» - the predecessor of «soap opera» / Alexander Kochubey // Lviv newspaper. - 2008 - 22 February. 5. The musical progress // Lviv newspaper. - № 32. - 2000. - 19 February. 6. Alexander Palamarchuk musical performances Lviv Theatres (1776-2001) / O. Palamarchuk. - L., 2007. - 448 pp. 7. Revutsky B. In orbit of world theater / V. Revutsky. - K.; X .. - New York, 1995. - 243 p. 8. Garden Party B. Eastern guests in Lviv Opera / Garden // V. progress. - 2000. - Sept. 9. 9. Tereshchenko AK Lviv Opera and Ballet. Franko / AK Tereshchenko. - K.: Music. Ukraine, 1989. - 208 p. 10. http://opera.lviv.ua

Summary Done overview of L’Opera during the 1900-2014 biennium. Outlined leading artists and personalities premiere performances and repertoire policy analyzes theater in this period. Keywords: Lviv Opera House, the opera troupe repertoire, opera premieres, singers, conductors.

Summary Kornutyak A. Lviv National academic theatre of opera and ballet the name of S. Kruchelnitska (1900-2014) Done overview of L’Opera during the 1900-2014 years. Emphasized that in the pre-war years (1900-1934 gg.) Great repertoire city theater (the theater then called) dominated the works of Western European classics («Il Trovatore», «La Traviata» J. Verdi, «Carmen» by Bizet, «Lucia di Lyammermur» Donizetti, several operas by Richard Wagner). Not paid attention to the masterpieces of Russian and world classics («Eugene Onegin» by Tchaikovsky, «Boris Godunov» Mussorgsky). 1921 was first staged ballets – «Swan Lake» by Tchaikovsky. 1934 Theatre rolled out its operations due to financial difficulties.1 With the establishment of Soviet power in Western Ukraine in September 1939 the question arose of creating a stationary state in Lviv Ukrainian Theatre of Opera and Ballet. By order of the Government of the Ukrainian SSR of December 20, 1939 Large city theater was renamed the Lviv Opera and Ballet with its subordination of the Ministry of Culture of Ukraine. Theater and ballet troupe, orchestra, choir alumni replenished Kyiv, Kharkiv, Odesa, Lviv conservatories. As the first conductor was invited M. Pokrovsky and M. Goncharov. By the repertoire included operas by Ukrainian composers – «Nedorosl» Lysenko and «Cossack beyond the Danube» Gulak-Artemovs’kyj. Season 1940-1941 gg. Was the start of a creative work. It started a good tradition continued in the postwar years. During the German occupation of Lviv remained the center of musical and theatrical life in Ukraine. Artists patriots decided to organize a Ukrainian theater. The team was headed by A. Petrenko. Artistic director elected V. Blavatsky, music director – prof. L. Turkevicha, literary – G. Sorb. In the first postwar year, work began on a new team. As best forces L’Opera emigrated to the West, to participate in the preparation of the first performances of Kyiv and other cities of Ukraine came artists, conductors, artists, directors. The artistic director of the theater was the Honored Artist of Ukraine Mikhail Stefanovich, transferred from Kharkov. 1950 marked such productions as «Masquerade» J. Verdi’s «Romeo and Juliet» Gounod «Lakme» L. Delibes, «Iolanta» by Tchaikovsky. For the first time in the USSR by the artists of Lviv opera was performed opera «Dalibor» B. Smetana. In 1956 there was a premiere of the opera «towards the sun» Kos- Anatolskyi in 1957 – premiere of «Forest Song» V. Kyreyka. Tradition theatrical collective’s repertoire is oriented on the development of domestic and foreign classics. Each season premiere occurred operas or ballets. Of the 60 th century. The repertoire appear annually of opera and ballet, which is the primary source of the works of classical Ukrainian literature. Displays this list of opera «Stolen Happiness» Yu Meytus (1961). In 1966 there was also an opera premiere V. Kyreyka «On Sunday Morning» (based on the works Kobylanska). 1975 for the post of artistic director and chief conductor of the I. approved Latsanych. The artist had a great experience in the opera: a decade in Lviv was an intern and conductor-director, then – in the Theater. Vladimir Nemirovich- Danchenko Moscow. He made a number of productions at the Theater. S. Kirov in Leningrad. For a long time the head of the team (as artistic director) at the Donetsk Opera House. 1988 in the theater conceived the idea to hold a festival of opera named. Krushelnytska. The new creative rise took place in the team with the appointment in 1995 to the post of artistic director R. Dorozhivskoho. 1998 Theater was headed T. Eder, one of the most important players in music and social life of the city. He spent nine international festivals «Virtuosi», three international competitions of opera singers named. Krushelnytska, was one of the organizers of the international project «Grand Art». Artist. makes a bold creative projects that have attracted public attention – the project of setting opera «Moses» Skoryk (poem by Ivan Franko). In 2000 T. Eder was one of the organizers of the celebration of the 400th anniversary of the opera as a genre and the 100th anniversary of the Lviv Opera. Initiated by T. Eder Lviv Opera House was the first in Ukraine entered the international non-profit association «Opera Europe». Signing took place in early December 2008, which greatly expanded capabilities and cooperation with European theaters. Outlined other leading artists and personalities premiere performances, as well as the analysis of repertoire policy of the theater in this period. Key words: Lviv Opera House, opera troupe repertoire, opera premieres, singers, conductors, creative contribution to the national cultural heritage of the opera.

Abstract Kornutyak A. Lvovskyy Natsyonalnыy Academic theater of opera and ballet them. C. Krushelnytskoy (1900-2014 biennium). Done overview Lvovskoho activities opera houses in the period 1900-2014 biennium. Opredelenі personalyy leading Artists and premernыh performance, osuschestvlen analysis repertuarnoy Policy Theatres ukazannіy period. Keywords: Lvovskyy opernыy theater opernaya truppa, repertoire, opernыe premerы, pevtsы. Received 10/11/2014

UDC 78.1, 78.2 Z.M. Lastovetska-Solanska

SOCIO-CULTURAL REQUESTS PROJECTED ON SONGWRITING CREATIVITY MODERN UKRAINIAN COMPOSER

Currently, Ukrainian society is influenced by recent developments military is a new stage of radical changes in the plane of historical and socio-cultural development. Deep transformation processes caused by the protection of territorial integrity, led to the rise of national self-awareness and self-identity, pride in your people and their heroes. It seems urgent and necessary to track how musical art, Ukrainian composers in particular to respond to the latest developments and as reflected contemporary socio-cultural requests in their artistic activities and achievements. It should be emphasized that the term «modern» is no longer synonymous with new, currently meaning «modern» is in most aspects of the «actual» [1]. The study of social and cultural needs and requests is in line with the musical sociology. Of particular value in their research are scientific works of L. Brentano, F. Shcherbina, A. Pfendera, Lersh F., H. Thomas, A. Murray, Maslow, D. Uznadze, G. Tarasov, N. Chernish and others. As for the scientists, analyzing the works of contemporary Ukrainian composers, there is a large cohort of researchers: Kyyanovska L., A. Mucha, A. Samoilenko, Dyachkova A., B. Syuta, A. Kozarenko, N. Savitskaya, A. Coast, A. Katrich, I. Bermes, S. Zazhytko, T. Kireyev, N. Alexandrov, Torba, A. Frayt, Lantsuta L., M. Severynova, A. Afonin, I. Verbytska, R. Stelmashchuk and others. The article is an attempt to reflect the modern Ukrainian cultural requests society in the creative work of Ukrainian composers. It seems necessary to dwell on socio-cultural categories of requests and needs. The art is directly linked to the social environment, governed and coordinated by him in directions of development. Social demands affect all levels of existence of music: composer creativity, performing style, listening perception and more. Request predetermined requirements and specifies its content. More concrete definition proposed set of artistic expectations, needs, requirements, cultural value systems of social protection as «socio-cultural inquiry.» In the famous triad «composer-performer-listener» participants are both mediated relations, and direct. Considering the importance for social demands operation of all levels of understanding music. Almost every ork of art, along with significant share autoreflection creator, is socially and historically determined, is a artistic and sociological information. An important concept is social demand for the product composition activity. In Western it studies developed very intensively. For example, a distinguished expert in sociology of music, Croatian scientist Ivo Supichich (Supičić) (1928) believes that social order as determined by aesthetic needs and is primarily economic in nature. [6] Often requests with an average talk times. The correlation of supply and demand there is the example of the various arts. In marketing culture clearly notes that in contrast to the commercial sector, where the product is created in accordance the needs of consumers, artists priori not imposed these requirements. Therefore, the starting point in Art is meeting the needs of the artist’s self-expression, revealing his own «I», not pleasure consumer needs. Artists perceive the outside world through the prism of both his artistic vision, and social demands and interests, offering the product under their creative efforts. Almost every composer imagines inquiries and satisfy the needs of his works, sometimes it localized nature of the order. Each composer coordinates its work with social demands individually. In any case analysis of coordination of social demands creativity helps to understand the essence the style of the composer, his evolution, selection of genres, images and more. The problem of communication «composer - society» did not remain at the margin and in foreign Ukrainian musicological exploration. Study of social, psychological and economic position, composers and performers subject of many works, including German music sociologists A. Zilberman (Silbermann), H. Einem (H. Einem), G. Engel (Engel), J. Muller (Müller), V. Viory (Wiora), Ukrainian researcher Kyyanovskoyi L. et al. In the second half of the twentieth century. in all areas of artistic life in Ukraine is impossible to say the natural development of art as «social demand» clearly dictated from above and formation of attitudes was under pressure from party statutes creative personality of the artist is almost dissolved. Only after the «Khrushchev thaw» in the 60’s There were some changes in the socio-cultural situation, a sense of relative creative freedom. In particular, there were songs of individual reflection characteristic handwriting of interspersed with national motifs. In particular, there Lyatoshynsky works with «Slavic» titles LA Kolodub addressed the poet («Shevchenko images») V. Silvestrov wrote «Eshatofoniyu» and «Spectra». L. Grabowski and M.Skoryk created by According to B. Syuty clearly «national connotation,» Ukrainian «composition» «of interest use of rhythm-intonation formulas folk origin. Thus, from the pen L. Grabowski out «Four Ukrainian Songs» Op. 6 «The Sea,» «Symphonic frescoes» and M. Skorik - «Hutsul triptych» and first partyta. In the 1980-1990’s. Artists were able to more free creative self-expression, as ideological restrictions and prohibitions were largely removed. According to the composer and musicologist A. Karnak in an article with ambiguous title «Ukrainian contemporary music XXI century: same identification margins «-» Changing the social and cultural context in modern conditions led to some devaluation of aesthetic criteria artistic values that were shaped matrix klasyko- romantic tradition. To this was added and the actual situation changes Ukrainian ideological content the collapse of socialist-realist art through the emergence of the vacuum method and content, filled with very slow strata of the social archetype who were displaced during the rule of the Communist ideology. This refers to the return or update composers traditional methods and techniques based on ethnic roots (in the modern update of the information field of neo-folk component), Christian ethics (appeal to religious themes as Catholic and Orthodox tradition) inherent Ukrainian contemplation (meditation invective as minimalist and sonorystychnoho types) and natural eclecticism (parallelism time-spatial objectification that can intonation objects combine different musical eras and kompilyatyvizm are a new type, associated with the formation of subcultures DJ-Inga) «[2]. Currently, state the weight of individual growth factor-depth interest national origins, «the people’s pietism» (J. Jakubiak), the revival of religious art, banned by the atheistic regime, the emergence of the field of sacred numerous national music kompozytsiy1. Sociocultural asked to create sacred compositions remains relevant donyni2. A significant sociocultural modernity request related, on the one hand, on the 200th anniversary of the birth of the Great Kobzar, and the second - with acute relevance to present his poetry – is appeal to the composers Shevchenko word. In 2014 at the festival «Kyiv Music Fest» took place the world premiere of these works: the cycle of treatments Stepurko the verses V. Shevchenko «It was at once In country «,» causal «I. Taranenko,» Kayzatskoyi parable «on the verses V. Shevchenko Rogin,» My thoughts, Thoughts «Yuri Shevchenko Symphony» Shevchenkiana «L. Dychko, choral concert-Yu Alzhnyeva diptych» More third roosters do not sing «,» Divine Liturgy Shevchenko «A. Kozarenko; at the festival «Contrasts» in Lviv - «The Passion According to Taras» Stankovych, ballads «Oh blooms on the mountain Roma» L. Dychko, performance «Psalm Shevchenko» V. Silvestrov. Eloquent words are the last «read Shevchenko until too late ... «» In the history of this unique case where the poet not only become a symbol of the struggle for independence, but also a symbol of Ukraine. Through word. He even has a line: «And the guard around them put the word «... And I would like to» And the dead and alive ... «revered all» [4]. Classification interesting offers musicologist A. Dyachkova, which, however, does not cover all «Songwriting unit» and stylistic priorities, but rather clearly defines key style vectors contemporary artists [1]: style composers garde spirit in the 60s Zazhytko S., A. Carnac C. Lunev, B. Field, L. Yurina, V. Runchak (Kyiv), A. Greenberg, A. Shchetynsky, S. Pilyutikov (Kharkiv) K. Tsepkolenko (Odessa), I. Heavenly (Lviv) medytatyvnist in the spirit V. Silvestrov W. Field, Shcherbakov, A. Zagaykevych (Kyiv) «Romantic line» I. Shcherbakov (Kyiv) Y. Laniuk (Lviv) Section I. Historical and Artistic Heritage of Ukraine in the context of the global cultural space musical expressionism (mainly mostly in vocal works) Mikhail Denisenko (Kyiv), A. Kozarenko (Lviv), K. Tsepkolenko, B. Larchykov (Odessa) neofolclorism AG Ovcharenko, I. Taranenko A. Zagaykevych (Kyiv), A. Kozarenko (Lviv) neoimpressionism Mikhail Denisenko, Yuri Babenko (Kyiv) Overall, from time gaining state independence, Ukrainian composers freely express your creativity, fitting into the modern world «sound landscape «actively integrate into the global cultural context. Obviously, each of them continue bends his concept of «social demand» in his work. S. rightly Pavlyshyn stresses that the present epoch galaxy of artists determines diversified direction, «the different tastes of consumers «who create, based on their intentions, the inner feeling tradition, and not under «pressure from above» [3; 227]. Obviously, before musicians academic focus is now facing new challenges and social and cultural needs. One of the urgent problems of modern musical art is commercialization of the arts industry, including, and music. Along with saving his own performing «I» to establish contacts with the listening audience, modern artists and composers need for effective promotions, branding on their own behalf, help art - managers, promoters, producers who have walked its activities on providing all organizational issues, attracting the support of patrons. In the West - is extensive and developed practice in commercial operation party culture. Particularly acute in a competitive environment is the issue of professional development and Composers self- starters. Along with mastering the skills they need to have the means, and a representation of their «creative product» for the artistic community. Urgent requirement today is that modern artists of different generations should cover the results of their own professional activity in the media and the Internet, which facilitates dissemination of their works in a globalized world. It should be noted that the current practice of composers characterized by more intensive use of computer tehnolohiy3 who actively affect the process of composing and musical composition as a whole. Obviously, this is relevant sociocultural request. With the latest mass communication new music is closer to a wider audience that would not complex compositional principles lay at its basis. Notes that the Ukrainian composers of modern music or sounds in the music space present or advocated minimal, and is preferably efforts themselves artists. It should be noted that the works of contemporary composers performed in Ukraine only in specialized festivals muzyky4 today that composer V. Runchak called «festival ghetto», which, he said, present «specific audience: the composer friends, family members, friends, enemies.» 5 It should express a few remarks on recent events of today. As the «Orange», and «Revolution dignity» characterized by a significant role of music during various postings mass events, music which was non-stop. According to music critic J. Green, «Ukraine has offered the world its own kind of» velvet «changes in society - Singing Revolution «[5; 134]. This is not surprising, because the Ukrainian nation has a huge musical gene pool, singing ancient tradition, manifested primarily in the collective (choral) singing. Moreover, «civil disobedience was the most musical revolution in the world ... «[5; 134]. As the frontman of the group «cry Vidoplyasova» A. Violin, Ukrainian song has become one of the most important tools of the Orange Revolution, which is 50% - a musical «[5; 134]. During the «Revolution of dignity» almost all cities of Ukraine Maidan was located t.-zv. «Piano Peace», which played as amateurs, beginners and well-known performers and composers. Which during the «Orange» revolution, perform the anthem «Ukraine is still alive», often with tears in eyes, becoming a factor of social and musical associations leyttemoyu all events. One of the first artists who reacted immediately in the works latest developments in Ukrainian History is a composer with a worldwide reputation V. Silvestrov. How do Square dedication, he wrote two Choirs («Hymn» and «Christmas hymn»), cantata «Hymn. Dedication Square «and the memory of the deceased C. Nihoyana newest hero (1993-2014 gg.) diptych dedicated «... And thank you, blue mountains» (vs. Shevchenko, who Nihoyan S. read at the Kiev Square) and «Co holy repose ...». In 2004, after the Orange Revolution, V. Silvestrov also wrote several works, but then they do not Unveiled. Now listed above all his compositions, including the cantata «Hymn» (II h. - «Song» («Together we are many, we can not be defeated,» Part III. - «Our Father»), you can listen to online publishing «spirit and letter». In V. Silvestrov, as a response to the «dignity revolution ‘from the pen composers L. Donnyk ballad appeared on poems B. Chugunova «Heavenly hundred» Quartet № 1 «In memory of the victims euromaidan» A. Yakushev (Belarus). Thus, the current generation has witnessed a fundamental change in the system of private papers of values, what happens in unstable social, economic and psychological conditions. In these circumstances the artists forced to organize their own creative work on a new footing. The above gives reason to believe that modern Ukrainian composers, mainly freed from any political or ideological pressure, unless their creative activity laws stifle market where they offer their music product. Freedom aesthetic views prerogative serves creative person, it leads to a qualitatively new results in the field of composition. In general, the problem of cultural requests of modern society in the projection composer creativity is multifaceted and allows various approaches to dealing with it.

Notices 1 Proof of this is the «Liturgy of St. John Chrysostom» L. Dychko; «Requiem,» «Liturgy of St.John Chrysostom, «» Spiritual Concert «(Requiem), Psalm Skoryk; «Requiem», «liturgical chants» «Vespers chants», «Psalms of David» cycle «Psalms and prayers,» «Three Hallelujah» V. Silvestrov; concerts «O Lord, our Lord,» «Let Thy will tsarstviye» Stankovych; «Ukraine. Way of the Cross « «Liturgy of St. John Chrysostom,» «Vervychna Service»; «Easter Matins»; «Bishop Divine Liturgy, «» Liturgy of the Eucharist «V. Kaminsky; «Liturgy of St. John Chrysostom, «» Psalm of David « «Blessed Virgin’s Song», «catholic liturgy» the oratorio «The Passion of our Lord Jesus Christ,» «Ostrog triptych «,» Christmas Divine Liturgy «A. Kozarenko; «Stihira. St. Theodosius Pechersky « «Confessional Liturgy», «Izhe cherubim» Mass «dogmas of the Blessed Virgin XVII century» V. Stepurko; Concerts «Thank you, Lord!», «Sing to the Lord ...» Yu Alzhnyeva; «Spiritual songs», «On the death of Jesus» «Prayer» V. Runchak; «Psalms of David», «Our Father ...», «my voice to the Lord» I. Aleksiychuk; «Oh my, why hast thou forsaken me? «» Until I lift up my Lord, my soul ... «,» Cherubim, «» You poyem « «Blessed is he who cares about the poor,» «Canticles», «Hail, Hail, Hail» concert «Let rise again God! »« Stabat Mater »G. Havrylets; «O you raduetsya» cycle «Christ is risen», «Veruyu», «Easter Stihira» «Velychanye Christmas», «Christmas Troparion» cantata «Word», «Sveti quiet», «Light chants» V. field; «Yes yspravytsya my prayer», «Yrmosы Easter», «Elytsы», «Pashalnыy Prokeimen» B. Pratsyuka; «All-Night Service bdenye» Liturgy, 21 Cherubic Hymn, holiday hymns and spiritual concerts W. Fayner; «Dies irae », Stabat Mater,« Three prayer «,» Diptych «,» Lyturhycheskye slavoslovyya Yoanna Chrysostom, «» Revelation Blessed Yeronyma «spiritual concerts» Vozrody me, strengthen, «» Yskushenye Svetloho Angel «Mass» And I said to heart Maugham »,« In excelsis et in terra », organ Mass« Via dolorosa »M. Shuha; «Ave Maria», «Hail, Hail, Hail» spiritual concert «Dream» I. Shcherbakov; «Resurrection Tvoe Christ Saviour,» «Oh, glorious miracles, «» Reverend Agapita Pecherskogo «bohosluzhbovipisne singing» Nыne otpuschaeshy « «Heruvymskaya Song‘, ’Rejoice Virgin Devaux,» «Liturgy of St. Bozhestvennaya. Yoanna Chrysostom « T. Iashvili; «Holy God»; «Christ is risen!» Cantata «Psalms of David» M. Lastovetskoho; «Kyrie eleison», «Agnus Dei» B. Frolyak; «Our Father,» «Come, let us worship,» «Angels znyzhaytesya», «All my upovaniye» «Holy God», «Presvyataya Trinity,» «God of vengeance - Lord,» «Blahoslovennaya in zhenah», «Small thanksgiving «,» Akathist to the Mother of God Terebovlia «M. Volyn; «The Shroud,» «Bless us, O God, «4-AM Liturgy Dacko; «Antiphons», «Pater Noster», «Aleluia» N. Swede; «Blessed is the man. Psalm 1 »,« Alleluja »; «Gloria in excelsis Deo», «Stabat Mater» Sehin B., «The Passion of the Christ» and many Yakovchuk A. others. 2 Analysis of sacred works of contemporary Ukrainian composers dedicated thesis A. Manulyaka «sacral art of Lviv composers of the late XX - early. XXI century. in the context of leading trends of modern Ukrainian religious music «(Lviv, 2009), IV-Shokot Verbitsky» Feature Requiem in choral works of Ukrainian composers borderlands millennia «(Kharkov, 2007) N. Alexandrova «liturgical music as a genre and stylistic phenomenon in the works of local composers the late XX - early XXI century: «(Odessa, 2008), AV Tishchenko» Liturgy in Ukrainian music late XX -beginning of the XXI century. (to the relationship between ritual and genre) «(Kyiv, 2011) and others. 3 dissertation is devoted to this issue IA Gaidenko «The role of computer technology in music modern composer practice «(Kharkov State. University of Arts. Kotlyarevsky, 2005). 4 In particular, the Kyiv music sounds contemporary artists at the festival «season premiere» and Kyiv Music Fest, in Lviv - the «contrast» in Odessa - the festival «Two Days and Two Nights of New Music». 5 E. Konstantinov «I -» Lunatic «, but not bezumnыy!» Composer Vladimir Runchak pryzыvaet Sec hosnahradы vsem zhelayuschym / E. Konstantinov // Zerkalo Nedeli. Ukraine. - 25 March 2011 - http://gazeta.zn.ua vladimir_ runchak _prizyvaet_razdat_gosnagrady_vsem_zhela.html

References 1. Dyachkova E. Between meditation and action / E Dyachkova // NYURO. - № 4. - P. 24-26. 2. A. Carnac Ukrainian contemporary music XXI century: identification margins [Electronic resource] /A. Karnak. - Access: http: // karnakcreative.com/index.php/Тексты/ ukrainiancontemporarymusicmarguiness.html 3. Pavlyshyn Music twentieth century S. / S. Pavlyshyn. - L., Bak, 2005. - 232 p. 4. Semenchenko M. Valentin Silvestrov: Read Shevchenko until late ... / M. Semenchenko // Day. - 2013. - Dec 29. - Access: http: // www.day.kiev.ua/uk/article/kultura/valentin-silvestrovchitayte- shevchenka-doki-ne-pizno. 5. Solanskyy C. Some Peculiarities of the «orange» revolution in Ukraine on formation individual style musicians / s Solanskyy // Proceedings of VII All-Ukrainian. scientific-Theor. Conf. «Young Musicologists of Ukraine». - K., 2005. 6. Supičić I. Wstęp do socjologii muzyki / I. Supičić. - Warsawa, 1969. - 185 s.

Summary Lastovetska-Solanska Z. Sociocultural Queries in Projection on Composer’s Creation of Modern Ukrainian Composers The problem of the influence of socio-cultural requests and needs of the modern composing process in Ukraine. The author clarifies a number of terms, including the term «modern», the author notes that the concept of «modern» is not synonymous with a new, currently meaning «modern» is in most aspects of the «date». The study of social and cultural needs and requests, the author stresses, is in line with the musical sociology. And submit a list of researchers who study these issues. Also emphasized that art is directly linked to the social environment, governed and coordinated by him in the directions of its development. Social demands affect all levels of existence of music: composer creativity, performing style, listening perception and more. Request predetermined requirement and specify its content. In the famous triad «composer-performer-listener» as the participants are in indirect ways, and in the immediate. Taking into account the social demands important for understanding the functioning of all levels of musical culture. Almost every work of art, along with significant share autoreflection creator, is socially and historically determined, is certain artistic and sociological information. Often requests with an average talk times. The ratio of supply and demand is observed on the example of the various arts. In marketing culture clearly noted that in contrast to the commercial sector, where product created to meet the needs of the consumer, artist priori not imposed these requirements. Therefore, the starting point of art is to meet the needs of the artist’s self-expression, revealing his own «I» and not customer satisfaction. Artists perceive the outside world through the prism of his artistic vision as well as social demands and interests, offering the product under their creative efforts. Almost every composer imagines inquiries and satisfy the needs of his works, sometimes it is localized in the nature of the order. Each composer coordinates its work with social demands individually. In any case, the analysis of social demands coordination with the work helps to understand the essence of the composer’s style, his evolution, selection of genres, images and more. Also analyzed the fact that in different historical periods of development of the state by different artists found themselves, it was especially difficult to do in the second half of the twentieth century. In the early 1990s, artists were able to more free creative self-expression, as ideological restrictions and prohibitions were largely removed. Currently, state the weight of individual growth factor-depth interest in national roots, «the people’s pietism» (J. Jakubiak), the revival of religious art, banned by the atheistic regime, the emergence of the field of national music of numerous sacred compositions. Sociocultural asked to create sacred compositions remains relevant to this day. Modern Ukrainian composers, mostly freed from any political or ideological pressure, unless their creative work laws stifle market where they offer their music product. Freedom aesthetic views prerogative serves creative person, it leads to qualitatively new results in the field of composition. Key words: composer, work, social and cultural development needs and requirements, modern society, historical context, cultural and artistic activities, the specificity of creative self-expression, XX – beginning of XXI century music.

References 1. Dyachkova E. Between meditation and action / E Dyachkova // NYURO. - № 4. - P. 24-26. 2. A. Carnac Ukrainian contemporary music XXI century: identification margins [Electronic resource] / A. Karnak. - Access: http: // karnakcreative.com/index.php/Тексты/ ukrainiancontemporarymusicmarguiness.html 3. Pavlyshyn Music twentieth century S. / S. Pavlyshyn. - L., Bak, 2005. - 232 p. 4. Semenchenko M. Valentin Silvestrov: Read Shevchenko until late ... / M. Semenchenko // Day. - 2013. - Dec 29. - Access: http: // www.day.kiev.ua/uk/article/kultura/valentin-silvestrovchitayte- shevchenka-doki-ne-pizno. 5. Solanskyy C. Some Peculiarities of the «orange» revolution in Ukraine on formation individual style musicians / s Solanskyy // Proceedings of VII All-Ukrainian. scientific-Theor. Conf. «Young Musicologists of Ukraine». - K., 2005. 6. Supičić I. Wstęp do socjologii muzyki / I. Supičić. - Warsawa, 1969. - 185 s.

Summary The problem of the influence of socio-cultural requests and needs of the modern composing process in Ukraine. Keywords: composer, work, social and cultural development, requests and needs, modern society. knowledge of the specifics of the Cossack’s art, pronounced heroic beginning, the signs are: call-quart procession, marching pace and genres, elastic dotted rhythms, homophonic mix textures with elements of polyphony, matching parties soloists, choir and ensemble accompaniment banduras.

Karas G.

CHORAL SHEVCHENKINIANA OF COMPOSERS OF THE UKRAINIAN DIASPORE

Application vyrazovyh wide range of facilities in these works are evidence of high compositional G. Kytasty technology and a sense of folk melodies, which compositions close it. Culminating choral canvas Osip Zaleski (1892-1984 gg.) With the US, which close to the cantata is «Chigirin» in the words of Taras Shevchenko [21]. The work, written for mixed choir, solo baritone and piano, piercing pain for the lost glorious past Ukrainian people. He invitingly rich, heroic tone, along with the chord texture composer uses simulation polyphony, matching choir groups, contrasting pace. Choral Shevchenkiana Andrew Hnatyshyn (1906-1995 gg.) Vienna was caused by practices holding celebrations in honor of the great poet, who were a powerful factor for Ukrainian unity Diaspora. The composer wrote the words of Shevchenko composition: «For the Duma Duma», «For ravine ravine» (1969) [20], «My thoughts,» «Cherry Orchard Circle house» for mixed choir a cappella solo on baritone [17; 18], «Are you my God, forget» (psalm), «Our chieftain Gamal» and thematic collection [19]. I. Demyanets states that «style works on words Shevchenko deliberately assimilates semantic Signs European tradition (pastoral F-dur, «golden horns course» trydolnyy octal meter dotted with inherent «hunting music» Austro- German and English traditions, nightingale onomatopoeia that exhibit national perven) «[2; 13]. Choral large canvas form Pechenegi-Paul started Uglich (1892-1948 gg.) With USA. The composer wrote the magnificent vocal-symphonic cantata «Beating Thresholds» in the words Shevchenko which triumphantly performed at a concert composer in «Carnegie Hall» in New York (1939). Is abundant vocal and choral heritage Rudnytsky Anton (1902-1975 gg.) With the US. Other area released its vocal-symphonic cantata «poslasha» (1960), established on the eve of the 100th anniversary of the the death of Taras Shevchenko. This - the massive 4 partial work written for soloists, mixed choir and Symphony Orchestra. Over formed into selected parts of the poem. Among other tools cello performs particularly important that, as we know, was a favorite tool Shevchenko. Introduction - monotematychnyy built on one musical idea that with each new repetition is growing rapidly [14]. Instrumental interlude is the largest part of the work. Her musical material based choral score the fourth part of «Uchitesya, my brothers’ and mizhtematychni episodes. Cantata was first performed in 1962 in Philadelphia chorus «Kobzar» under the leadership of the author, and in 1964 at the opening of the monument to Taras Shevchenko in Washington. Games Sonnevytsky (1925-2006 gg.) From the United States wrote a little cantata «My thoughts» for mixed choir, solo baritone and orchestra (1968, edited 1991), which has a three-part structure. Musical language work shows the composer’s desire to maintain traditional line in implementing His poetry, melody-chief motive is as close to a famous folk source. Vocal and instrumental genre occupies a leading place in the work Kuzana Marian (1925- 2003) from France. The composer interprets in a special poetry Shevchenko. Comprehension Shevchenko in the context of postmodernism leads to focusing attention on philosophy and literary criticism of this period, and updates the research on the intersection of science. In history Shevchenko in the 1980s. Slavic studies appear Plyushch, G. Hrabovych, B. Rubchaka, A. Zabuzhko that signify the trend atropolohichnoho philosophical approach to Shevchenko creativity, that is, they were pioneers of modern philosophical Shevchenko. American Slavic G. Grabovych in the afterword to the Ukrainian edition of his monograph «Shevchenko as mifotvorets» says: «He still remain a prophet, because you can not ignore historical memory and peculiar, deeply engraved in the hearts of Ukrainian seems God this, cryptography his words «[1; 211]. A. Zabuzhko consider writing Shevchenko «... and artistic, and philosophical and religious, and ... historical (or, at least, historical and cultural ...) [3; 13-14]. Such syncretism replied to it considers only one type of mental activity - a myth that articulates the language of symbols, above all, archetypes of the collective unconscious. A. Zabuzhko does summarize important that only integrated, interdisciplinary approach and systematic analysis «Kobzar» can claim that to understand it in its entirety [3; 36]. These approaches are needed to understand and implement Shevchenko’s words in music postmodernism, which is bright predstavnykomy M. Kuzan. Depending on the type of basic psychological artists (extrovert and intravert - Karl Yunґom) meet with a certain type of work: or directed, deliberate and calculated form the desired effect or one that «is a work pozasvidomoyi nature that is born without participation of human consciousness, sometimes even against her own whimsical imposing shape and influence» [15; 277]. Philosophers believe that if an artist hears the voice of the first type of modern tradition, the artist second - the voice of the mysterious archetypes [9; 120]. M. Kuzan, in our opinion, in the early and middle periods creative artist appears as the first type (S. writes about Pavlyshyn [12, 3], in later when running on the works of Taras Shevchenko - the second. A student of the Paris Conservatory (studied composition at J. Dandelo, a student of G. Faure), M. Kuzan passed difficult path in art. He appealed to the Shevchenko’s poetry in the late period of creativity and writes vertex compositions: two oratorios - «neophyte» 1 and monumental «poslasha» 2 cycle choral a cappella «Psalms of David» (1988). In the text of Shevchenka3 composer enters a process of communication, immersed in depth (ethnic, national) and creates own text, which is the expression of contemporary modern symbiosis trends and manifestation of deep national archetype. That is the process in the context of the concept Lotman, considering culture as a phenomenon in which there is dialogue between mythical Chronicle and historical time (simulating two languages) [11; 568-579]. Intellectualization M. Kuzana creative process is the result of deep studies the works of the greatest philosophers humanity, advanced studies on phenomenology, hermeneutics, semiotics, sociology and mysticism etc. For disclosure poetic world Shevchenko G. Grabovych builds a model based on structural and anthropological approach to myth Levi-Strauss and Victor Turner [1; 54]. Her fundamental signs - bahatoliniynist, dynamics, versatility, going beyond time and Space resonate with personal experience and work of M. Kuzana. Music unison Shevchenko myth, which opens the boundaries of time and space, and Ukraine for the poet (and composer as well) - a «state of being». Thus, musical interpretation MM Kuzanom poetic world Shevchenko «neophyte» best meets the definitions of the model. To understand the musical culture of postmodernism, to which the composer, contemporary musicology involves techniques related fields of science and turns into a kind of philosophy Music. Central here is the semiotic dimension designed Kozarenko A. [6]. Scientist considers national musical language as semiolohichnu system, speech codes as author specific local sign systems. Alexander Levchenko, based on the findings are classic semiotics that culture is a system of communication, serves the communicative functions and subject kostruktyvnym laws semiotic systems, offers to study a particular culture build The most common model, which can be a text [9; 10]. It should be emphasized that the text today conceived not as stable object with certain characteristics, as well as the [10; 103]. «It is therefore important consider not only the text horizontally (syntagmatic) in his narrative and semantic power .. but in the paradigmatic depth inherent in every moment as the possibilities of, and possibilities of interpretation, due to ignorance of the end «[9; 84]. A. Kozarenko writes today semiolohichnyy it is fruitful approach to national history of music that should be interpreted as hypertext, «the meaning of which can only understand the contents through the deployment of its parts and comparing them «[6; 7-8]. In semiolohichniy system (which is every national culture) hypertext (by A. Kozarenko) can be individual works by a particular author or revisions whole historical and stylistic era, and the language of music is a means of «preserving genetic memory, awareness of self-identity and vital unity of the ethnic group (even imaginary!) in chasi- space «[6; 10]. For adequate «reading» the national musical and historical process A. Kozarenko builds a model, which is based on the idea of ethnocentrism, which determines the transition from «history styles «to» history of mentalities «[6; 19]. This principle makes it possible to consider national musical culture as a functional unit, which also includes music by Ukrainian composers Diaspora. A. Kozarenko defines national musical language as a symbolic non-verbal characteristic system, «which provides a record-playback-saving transfer (synchronic and diachronic in dimensions) for significant ethnic emotionally image information specifically musical means «[6; 56- 57]. «Specified Lysenko multilayer structure of the national stylistic paradigm where coexist etnolokalne (separate), national (especially) and International (general), formed complex semantic structure its author’s musical language «[6; 79], which find parallels in M. Kuzana. In the creative and active mind M. Kuzana also held several zimknennya movnostylovyh Blocks: Ukrainian folklore Western musical professionalism contemporary music The twentieth century. Each has its own system zvukorealizatsiyi, his musical language and all strangely intertwined in a language and style phenomenon of its scale oratorio «neophyte», which strikes polistylovym synthesis [5]. This is one of the most interesting works of the composer, contemporary poetry reading Poet. It is written for soloists, chorus and orchestra, composed of Overture, prologue and 14 parts in which the plot unfolds consistently [22]. Looking intonation matches Shevchenko word, composer immersed in his subconscious, attracts creative act «trunk genetic memory «[6; 263]. The composer says of Ukrainian song «I breathed this music In my childhood; it lulling me, it has shaped cells of my brain, my whole body, and all its vibrations crashed into my being ... «[12; 7]. Looking for new ways in music, the composer «knowingly here means using relatively simple musical language, which is associated with the traditions of church music and even Ukrainian folklore «[12; 53]. Meanwhile, M. Kuzan - artist of the twentieth century. with its own original style and musical language of his original works and rich. If in the early and middle periods of creativity he, S. definition Pavlyshyn close to Impressionism and Constructivism serial system, the last, mature period comes a turning point in creativity, appeal to sound humanistic themes (in particular to Shevchenko words), «it has its own original musical language hadst formed ... own writing, which is a generalization diatonic comes with free zahidnoyevro-dimensional combination of medieval and Slavic folk ladovosti «[12; 11]. Universal postmodern ability to combine incongruous strangely interwoven in the musical language of M. Kuzana: along with aleatoric music, means sonorystyky, dodekafoniya, minimalism and atonality find archetypal presence etnoharakternyh Musical signs that the first microstructure musical language, the bearer of value. Detected A. Kozarenko symbolic field of national musical language semantics Lysenko, manifested in the melodies, tune-harmony, polyphony organization, types of development found in M. Kuzana oratorio. C. and Pavlyshyn N. Koroliuk isolated Ukrainian oratorio features the image of a mother [8; 157, 12; 54-573]. Mostmeans of the composer is a color factor. Sonorystychni effects form zvukozobrazhalnu semantics of its work in line with impressionism. The element of «music of the bells» open Russian composers continued Lysenko, is manifested in the oratorio M. Kuzana. At number 13 composer uses almost debyusystskyy reception - image circles on the water (vibraphone), which reflect the fading waves of the river after the dumping of corpses in the Tiber [12; 58]. Bright sonorystychni effects apply composer in the image orgies in the baths (№ 3). M. Kuzan uses separate genre model as signs of a day, or characters associations: archaic Ancient slavic and Gregorian chants, the anthem associated with «medieval Organum - polyphony to the «perfect» intervals «[12; 129]; Women’s choir at number 13 sounds like a mournful solemn and tragic chant; monologue reader in Prolog associated with ancient n singer Bojan; from proslavnymy historical songs in the finals; melody in the chorus reminds freckles number 1, and baritone solo at number 5, which talks about the execution of the Apostle Peter, is associated with an old blind lyre player, melody this section is full of expressive «duma» tone [8; 155, 158]. One striking episode oratorio - performance bound in chains neophytes in the number of Psalm 10: «They are strong, magnificent, rchaic singing - singing doomed fanatical people who are ready to accept martyrdom for his holy faith has «nadsyuzhetnyy» nadchasovyy and transpersonal nature, takes a deep symbolic meaning «[8; 162]. An important role is instrumental and choral oratorio plan «emotsionalizatsiya instrumental style, making him etnoharakternyh rice «, which took place at a certain stage formation of the Ukrainian national musical language [6; 32] finds its expression in M. Kuzana. Mixed choir at number 2 is treated as a composer of instrumental groups of the orchestra, ie special orchestral colors. Choir plays an important role in the oratorio, «he acts as chief Narrator (transmits outer side steps of the plot), and secondly, personified in the role of a character, and reveals itself as an outside commentator, contemplative, which certainly recalls continuity of modern art traditions of ancient tragedy «[8; 166-167]. Choral, orchestral oratorio and solo episodes that often resemble opera and opera are bright elements drama, essay closer to the stage incarnation. Researchers are in the oratorio M. Kuzana stylistic orientation of Western European and even Russian composers. Thus, M. Kuzan peculiarly difficult reads, «polyphonic» terminology Bakhtin, product Shevchenko. The dichotomy M. Kuzana, manifested in the European musical symbiosis education and national nature, emotional inspiration (as features of the Ukrainian mentality) and rational balance, thoughtfulness (personality traits acquired European quality), simplicity, sincerity statements and clear structure with utmost expediency in the use of musical means [12; 59] is the corresponding figures are deeply philosophical and poetry Shevchenko. Oratorio composer shows that today, in a tense and dynamic era of postmodernism, «Monumental choral genre, kind of choir fresco, genetically linked to genius pasionamy JS Bach’s magnificent oratorio and H.-F. Handel, not only continues to exist in Ukrainian and world music, but also gets new, contemporary forms, allowing composers embody universal, supranational and nadchasovyy content Shevchenko’s poetry « [8; 167], and spirituality and emotion as determining the value of music by Kuzana (by S. Pavlyshyn), not only attract attention but also resonate in the hearts of Ukrainian XXI century. In a series of «Psalms of David» M. Kuzana [23] combined with religious symbols etyko-philosophical concepts. The composer chose from rehashing Shevchenko 10 psalms and created a choral Thumbnails for various types of chorus, where national religious imagery intelligent and motivated epic folk sources. «Complex vyrazovyh choral miniatures means appealing to the principles kolomyiky. However, the specific features of the folk genre «dissolve» in the system of contemporary artistic tastes French art «[13; 13]. In 1987 the composer made a version of the Psalms of David for five a cappella choir for tenor solo, mixed choir and symphony orkestru4. Oratorio «poslasha» written by M. Kuzanom 1992 to order the Company support Ukrainian culture in Edmonton (Canada) for mixed choir, soloists (mezzo-soprano, bass baritone) and dual composition of a symphony orchestra. This monumental canvas lasts half hours and, as stressed by S. Pavlyshyn, «plays into Shevchenko epic majesty» [12; 64]. Music in this work as a «neophyte», based on a broad stratum Ukrainian melodies. Thus, choral Shevchenkiana choral composers represented Diaspora paintings and miniatures deployed (cantata, oratorio, musical picture cycle). Their stylistic orientation has a broad palette - from romantic music to the latest color postmodern quest. Choral composers Diaspora to Shevchenko words characteristic: patriotic pathos civic, ethical and philosophical thoughts of and deep lyricism, high poetry appeals to Ukrainian poet, interesting finds in the creation of the musical form, and therefore they can successfully enrich the repertoire of educational, amateur and professional choirs groups studied in the class of choral conducting, analyzed in a number of disciplines music university.

Notices 1 Written by order of Bishop M. Hrynchyshyn and fund Mazepa in 1000 to mark the anniversary of the baptism Rusy-Ukraine in 1985 and triumphantly performed in the Lincoln Center in New York (USA) in 1988 2 Written in 1992, premiered in Edmonton (Canada) in 2002 with the author. 3 «In terms of semiotics, the circumstances of artistic communication is a structural element of a literary text.» Op. by: [9; 130]. 4 The first performance of a work held in Winnipeg (1988), the second - in Kiev (1989).

References 1. Grabovych Shevchenko as mifotvorets: semantics characters in his poetry / G. Grabovych; Per. from English. C. Pavlichko. - K.: Soviets. writer, 1991. - 212 p. 2. Demyanets I. Andrew J. Hnatyshyn artistic activities in the context of the musical culture of the twentieth Century: Author. Thesis. ... Candidate. Art. : 17.00.03 - «Music. Art «/ I. J. Demyanets; LNMA them. Lysenko. - L., 2009. - 20 p. 3. Zabuzhko A. Shevchenko’s Myth of Ukraine: attempt philosophical analysis / O. Zabuzhko. - 3rd ed. - KA: Fact, 2006. - 148 p. 4. Karas GV musical culture Ukrainian diaspora in the world timespace twentieth century: [monograph] / G. Karas. - Ivano-Frankivsk: Tipovit, 2012. - 1164 p. 5. Karas G. Shevchenko poetic world of postmodernism in music (for example oratorio «Neophyte» Marian Kuzana) / H. Karas // Art criticism Notes: Coll. Science. pr. - K.: Millennium 2008 - Vol. 13. - P. 14-22. 6. Kozarenko A. The phenomenon of Ukrainian national musical language / O. Kozarenko. - LA: NTSh 2000. - 285 p. 7. Koroliuk N. Maestros Ukrainian choral culture of the twentieth century / NM Koroliuk. - K.: Music. Ukraine, 1994. - 288 p. 8. Koroliuk N. Flaming Shevchenko word in music, choral works of Ukrainian composers / N. Koroliuk. - K.: Izdatel’stvo them. Helen Teligi, 1995. - 197 p. 9. Levchenko O. Text culture in Search of an Author: mass consciousness and artistic culture in the text Soviet culture (based theater and film) / O. Levchenko. - K., 2006. - 288 p. 10. Lotman, Culture and explosion / Lotman YM Lotman // Semyosfera / Yuri Lotman. - SPb. : Arts of St. Petersburg., 2000. - P. 12-149. 11. Lotman phenomenon of culture / Lotman YM Lotman // Semyosfera / Yuri Lotman. - SPb. : Arts of St. Petersburg., 2000. - S. 568-579. 12. Pavlyshyn composer Marian C. Kuzan / s Pavlyshyn. - LA: Educational Production studio Lions. Printing College, 1993. - 135 p. 13. T. Prokopovich functioning national tradition in Ukrainian religious art Diaspora second half of the twentieth century: the Thesis. Thesis. ... Candidate. Art. : 17.00.01 / T. Prokopovich. - Exactly, 2001. - 18 p. 14. A. My Rudnytsky composition to Shevchenko words «poslasha» (The concert «Kobzar» - Kobzar, April 8, in the «Féchain Institute» in New York) / A. Rudnytsky // Freedom. - 1962 - 3 Apr., ch. 62. 15. CG Jung Rev. AGAINST analytycheskoy psychology for poэtyko-artistic Creativity // Jung Archetypes symbol / CG Jung. - Moscow: Renaissance, 1991. - S. 265-185. Notohrafiya 16. V. Beskorovainyi Musical works / way. SI Olhovichenko / V. Beskorovainyi. - D.: NE. Kind. House, 2005. - P. 66-90. 17. A. Hnatyshyn Two songs on words Shevchenko: Cherry Orchard Circle house. My thoughts – for mixture. Chorus / A. Hnatyshyn. - Musicverlag Josef Dörr Wien, MSMLXVII. - 7 p. 18. A. Hnatyshyn Collection of Songs for mixed choir / A. Hnatyshyn. - Vienna, 1976. - 47 p. 19. A. Hnatyshyn repertoire of Ukrainian youth. Songs with lyrics by Shevchenko for tryholosnoho choir accompanied by piano / A. Hnatyshyn. - Musikverlag Josef Dörr Wien v; J.D.1156. - 26 p. 20. A. Hnatyshyn Native sounds. Choir of man. Unique works of Ukrainian and processing Folk songs / A. Hnatyshyn. - Vienna, 1977. - 43 p. 21. A. Zaleski Chigirin. Sl. Taras Shevchenko. For mixed choir, solo baritone, piano / A. Zaleski. - Buffalo. -13 Sec. - [Series «Ukr. muses. publishing house «, p. 10]. 22. M. Kuzan neophyte. Oratorio poem by Shevchenko. Score / M. Kuzan. - Winnipeg, 1988. - 187 pp. 23. The Psalms of David M. Kuzan (in SL. Shevchenko). Score / M. Kuzan. - Paris, offset duplicator, 1986 - 28 p. 24. Ternopil Regional Museum (Tokma). F. 8343, conjugation. RD 11767. «I still dream» muses. B. Bezkorovayna, SL. Shevchenko, the female. choir with soprano Sol. - Buffalo, N.J. (U.S.A.) - Manuscript 50-ies .; conjugation. ND. 17112 (7) Beskorovainyi B. «My thoughts» in the mixture. a capella choir, SL. Taras Shevchenko. - [B. m., BR]. - 2 p. (Print. Copy); 17112 (32) Beskorovainyi B. «Oh garden» mixture. Choir with piano, SL. Taras Shevchenko. - [B. m., b. g.]. - 2 p. (Print. Copy); 17112 (41) Beskorovainyi B. «Cherry Orchard» at mixture. a capella choir, SL. Taras Shevchenko. - [B. m., b. g.]. - 2 p. (Print. Copy); 17112 (42) Beskorovainyi V. «Cherry Orchard» at the female. choir, men’s choir at a capella, SL. Taras Shevchenko. - [B. m., b. g.]. - 3 p. (Print. photocopy); 17112 (46) Beskorovainyi B. «water flowing from under the sycamore» female. 3 voices choir a capella, SL. Shevchenko 2 seconds. - Manuscript (copy); 17113 (12) Beskorovainyi B. «parsnips in the garden», the people. Choir and Chapel, SL. Taras Shevchenko. - Ternopil - Lviv: [B. in., BR]. - 2 p. (Print. Copy); 17114 (11) Beskorovainyi B. «I still dream,» SL. Shevchenko, the female. choir accompanied by piano. - 3 p. Manuscript (copy); 17114 (12) Beskorovainyi B. «I still dream,» SL. Shevchenko, the mixture. a capella choir. - 3 p. Manuscript (copy); 17114 (13) Beskorovainyi B. «Irzhavets» on people. a capella choir, SL. Taras Shevchenko. - Buffalo, N.J. (U.S.A.): [B. in., BR]. - 3 p. Manuscript (copy); 17114 (20) Beskorovainyi B. «Our chieftain Gamal «on people. a capella choir ff. Taras Shevchenko. - Buffalo, N.J. (U.S.A.): [B. a., b. g.]. - 2 p. (choir. score); 17114 (21) Beskorovainyi B. «Our chieftain Gamal» on people. choir accompanied by piano, SL. Taras Shevchenko. - Buffalo, N.J. (U.S.A.): [B. in., BR]. - 3 p. (party piano); 17115 (33) Beskorovainyi B. «On Sunday holy (Selecting Getman), «ff. Shevchenko, the mixture. a capella choir. - 5 seconds. Manuscript (copy the chorus. Score). 25. Tokma. F. 8343, conjugation. ND. 17114 (23) Beskorovainyi B. «Polubotok» musical picture on mixture., female. and people. Choirs from barytonovym tenor solo and accompanied by piano. - Buffalo, N.J. (U.S.A.): [BV, BR]. - 8 p. Manuscript (copy) (party piano); 17114 (24) Beskorovainyi B. «Polubotok» Music painting on the mixture., female. and people. Choirs from barytonovym tenor solo and accompanied by piano - Buffalo, NJ (U.S.A.): [BV, BR]. - 4 p. Manuscript (copy) (choral score).

Summary Choral work analyzes prepared by the works of composers Shevchenko Ukrainian diaspora. Keywords: choral work, Shevchenko, composers, Ukrainian diaspora.

Summary Karas G. Choral Shevchenkiniana of composers of the Ukrainian diaspore In the article the composer’s creativity Ukrainian diaspora in sufficiently large historic piece of national cultural activities, especially focuses on the interwar period when emigration has left much of the Ukrainian intelligentsia. Analyzes the authors and their creative contribution in particular; description filed numerous musical compositions for different ensembles and instrumental compositions choirs. The largest group of choral Shevchenkiany, are miniatures; although composers exile and prepared many works of different artistic forms including opera, cantata-oratorio works and other artistic designs. Many of these compositions and works of art found spiritual content, confirming the high religiosity artists and inexhaustible source of spiritual Ukrainian people. Much attention in the text of the article on the analysis of the national artistic heritage of modern scientists, mainly by the Western art-school, emphasizes the philosophical thrust of this work, a rather high artistic level. It is noted that artistic choirs Ukrainian diaspora are bright page of national practices and performance are the glory of Ukraine in the world. The attention is focused on the changes in the style of musical language choral compositions in the works of Shevchenko texts prepared outside Ukraine; revealed its deep nature and impact of the new generation of European researchers and the general public and students from the countries of other continents. The information on cultural contacts contemporary artists mainland and Ukrainian musical Diaspora, underlined the importance of fruitfulness and further mutual cultural development. In the cultural turn introduced many new names, dates, attractions choral culture, which greatly expands creative horizons of Ukrainian culture. Thus, choral composers Shevchenkiana Diaspora presented choral miniatures and paintings is open (cantata, oratorio, musical picture cycle). Their stylistic orientation has a broad palette - from romantic music to new coloring postmodern quest. Choral composers in the word diaspora Shevchenko characteristic: patriotic pathos civic, ethical and philosophical thoughts of lyricism and deep, appeal to the Ukrainian poet of high poetry, interesting finds in the creation of musical form, so they can successfully enrich the repertoire of educational, amateur and professional choirs, studied in the class of choral conducting, analyzed in a number of disciplines of music in higher education. Work distinguishes the widespread use of not only scientific works of the Ukrainian diaspora, but also their music. Key words: choral work, Shevchenko, composers, Ukrainian diaspora, the impact of the global cultural process, semantics, trends, domestic classics, research, cross-cultural contacts, stylistic orientation, further artistic development.

Abstract Karas G.V. Horovaya Shevchenkyana composers ukraynskoy dyasporu Analyzyruyutsya horovыe Works on tekstы Shevchenko napysannыe Representatives ukraynskoy dyasporы. Keywords: horovoe Creativity, Shevchenko, kompozytorы, Ukrainskaia dyaspora. Received 10/25/2014

UDC 787.6: 78.083.5 L.I. Duda

TRANSFORMATION BALLAD GENRE IN THE WORKS BANDURIST UKRAINE AND UKRAINIAN ABROAD

Formulation of scientific problem and its significance. Ballad as lyric-epic, presented in Ukrainian folk-song creativity from ancient times. Rooted in Old Rus period Middle Ages, and the first examples of the genre originated in the calendar and family rites [1; 8]. Most Ukrainian ballads actively began to appear in the XV-XVII century. by Cossack times. Ballads content in tune with the realities of life because of their appearance and existence of permanent throughout period of folklore. In bandura repertoire of ballads genre gets genre features vocal and instrumental works, as a result of processes akademizatsiyi distributed in concert performing work, is the basis for instrumental arrangements, arrangements, copyright works. Analysis of recent research. The most complex genre represented in Ukrainian ballads A. Dey monograph «Ukrainian folk ballad» [4]. Genre was the subject of diverse research Research Grits S., A. Ivanytskiy, M. Dmytrenko, Z. Lanovik, Lanovik M., I. Rusnak et al. Ballads, as part of the performing repertoire Bandura considered in the works of V. Dutchak [7], [6] C. Vishnevskaya [2] and so on. The practical material for the study served as notations in published editions containing both ballads and works on their basis. Objectives and purpose of the article. In the absence of a comprehensive study on existence and transformation ballad genre precisely creativity and Ukrainian Bandura Ukraine countries remains an urgent problem, which determined the purpose of the article. The task of the article – to Based on the analysis of selected vocal and instrumental arrangements and author ballads, instrumental works to determine the location and extent of the transformation of the genre in the works bandura second half of the twentieth - beginning of. The main material and justification of the results of the study. Time ballad, which comes from the Greek βαλλo (move), and in the twelfth century. was used for provansaltsyamy definition of dance songs. In XIV-XV centuries. ballads called lyrical verses clearly outlined the story in France. In that in England the same time it was lyric-epic poem with a clear plot, endowed with legendary elements, fantasy or describe a certain way historical events [1; 5]. In Ukraine, one of the first scientists who gave the definition of a folk ballad as a genre was Drahomanov (1875): «songs epic content that telling, the story usually have any sad and spectacular event: murder cousins, woman, man, brother, poison, death, women married brother, sister, etc. «[13; 67]. Ukrainian scientist A. Day gave the following defined the term «ballad», «epic genre Works deployed acutely dramatic and tragic plot structure in which realistic (though sometimes with elements of fantasy and mythical) reflected exceptionally tense conflicts or fatal coincidence circumstances - in a personal, family and public spheres of life. This light and didactic rating is portrayed from the standpoint of people’s well-established ethical principles of morality … social reality, ownership history is seen through the prism of personal dramas and tragedies. The organic unity of the distinguishing features and provides ballad genre sovereignty «[1; 5]. In general, scientists ballad genre differentiate into four thematic groups: 1) mythological; 2) and ballads about family romantic drama; 3) ballad with historical background; 4) welfare ballads [3; 106], [9; 142]. In bandura art ballad genre represented composer creativity (vokalno- instrumentation, arrangements, original compositions) and performance (solo and ensemble). The transformation of the genre of solo instrumental works (variations, imagination, fugue, Inventions, play) seen in the works of composer J. Babinski, Dremlyuga M., A. Kolomiets, A. Lizogub, V. Martynyuk, Ivan Marchenko, K. Myaskova, S. Pankiva. Folk ballads in vokalno- instrumental treatment of Ukrainian composers Mykola Lysenko, adapted for S.Lyudkevych bandura performance. Texts ballads literary origins became the basis of copyright songs of Lysenko, J. Steppe, G. Khotkevych and others. In addition, correspond ballad genre copyright works of Haivoronskyi, R. Kupchynskyi that actually became popular. There are also vocal and instrumental growths in the genre of ballads, including the works of Ukrainian composers Alexander Gerasimenko, Yu Meytus. Performing work Bandura Ukraine and Ukrainian foreign needs predetermined Update repertoire, which would satisfy the relevant requirements of the listening audience. Significant role fact had strict filtering repertoire Bandura and bandura art in general by the authorities structures in terms of long-term loss of Ukraine independence. Particularly awful the physical destruction of harpers, as bearers of historical information, the national idea in the 30 years of the twentieth century. meant the irretrievable loss of valuable samples of their repertoire. Because value are Printed vocal and instrumental samples, including the ballad works, publications Bandura Ukrainian foreign R. Levitsky, Teligi M., Z. Shtokalko who played their creativity important role in maintaining national traditions in the field of bandura art. In terms of the present genre of ballads comprehensively represented in the work bandurystiv- artists. In particular, the vocal-instrumental ballad genre embodiment and its modifications presented in the works of S. melons, G. sackcloth, V. Vojta, M. Nail, A. Gritsay, D. Hub’yaka, Dygas E., L. Duda, B. Yesypka, H. Zalutska, V. Kushpeta, M. Moxico Province, S. Ovcharov, T. Sventah, B. Talovyri and others. Solo instrumental works ballade primordial available in the works of M. Nail, P. Ivanov, V. Mishalow and others. Peru G. sackcloth, Moxico Province M., A. Smyk, J. belongs Yanytskyy authorship new ballads that are consistent with the main features of the genre. As the composer and performing creativity for all Bandura found ballads thematic groups, although superior is historic and welfare. In the work of the famous Ukrainian composer K. Myaskova (1921-2000 gg.) [12; 210] genre ballad transformed into instrumental works great shape (variation «Zaschebetav lark» «Marusya, Marusya, you are kind of glorious,» Fantasy for piano bandura «Baida»). For example, solo instrumental variations based on the popular theme «Marusya, Marusya, you have nobleman» - Love ballad of the same name, in which she chooses death as a way to get rid of unloved. The tragic solution at the beginning of the work, which is a typical feature ballad genre, predicts tense topic of emphasizing each chord. Through the development is provided by rhythmic and register changes shredded textured presentation so that symbolizes endless movement, represents events in the time dimension and eventually leads to the inevitable dramatic denouement. So, composer perevtilyv vocal ballad genre as instrumental variations saving features folk source. Ballad as a folk genre, masterful reinterpretation of modern Ukrainian composer V. Martyniuk was the impetus for creating interesting instrumental polyphonic works («Fugue e-moll», Inventions «Oh in the field, was standing room»). «Fugue e-moll» wordless demonstration is an example of dramatic plot with preservation signs vocal ballad genre. In particular, monofonna theme that starts work imitates human voice, which in turn doyednuyutsya other «voices» playing folk polyphony. In this V. Martyniuk case, combining two distant genres of folk and professional music, followed pervnya prerogative instrumental over vocal, innovation gave literary content ballads, while increasing expression through language intonatsiy1 music. Songs to texts of ballads or folk ballad songs of literary origin in the composer creativity in most migrated in song genre rodynno- and scope of social lyrics because they are not covered acute dramatic interpretation (eg, «This is her destiny» in the words Shevchenko Alexander Gerasimenko in processing). Signs ballad genre songs were dominant in historical subjects «of the Cossacks Baida «(processing Lysenko, M. shifting Moxico Province),» Black arable izorana «(Processing S.Lyudkevych, shifting M. nails) and others. Importantly, the vocal-instrumental samples from ballad composer basis in the works for the bandura mainly focused on one-man performance, enriched with instrumental accompaniment. Author ballad «Oh developed a periwinkle flower ...» bandurist-famous composer Alexander Gerasimenko on words is a sign of Ivan Demyanov synthesis of folk and academic creativity in modern bandura art. The use of text symbols periwinkle, shawls, embroidery as Ukrainian eternal rites, emphasizes the dominant national perven songs. Use author in tune than harmonic minor, Hutsul down most closer to folk work samples. Remarque «rubato» opens in musical scores for artist underscores the dramatic possibilities of high tension, helps reveal deeply tragic content the exhibition and climactic moments of the work. In the sprawling arpedzhovani accompaniment chords that Bandura gamut, providing features epic work. On the other hand, and melody, and maintenance, containing many small fihuratsiy duration, octave passages and melizmatykoyu, glissando etc., already approved in the academic works of the concert performers. Performing interpretation offers versatile presentation ballad genre in bandura repertoire. The most complete ballad genre of vocal and instrumental spectrum presented in bandura conspicuous creativity, experimental composer Z. Shtokalko (1920-1968 gg.) [12; 331]. He was born in Ukraine and the fate of the circumstances emigrated abroad, where he continued to promote bandura art. Author’s interpretation ballad songs Z. Shtokalko led to their migration in the genre of songs love («Oh rye in the field», «Oh was quiet in the wind blows», «Dzhendzhura» «Oh grove in greenbacks») historical («Jour Not me, mother,» «Oh, poranenko On Sunday», «Baida», «On Morozenko», «On Sava Chaly «), welfare (« On Bondarivna «,» On the death of the Cossack «). Most likely, the author made processing already modified folk songs about love, lost rice ballad genre such as acute dramatic interpretation. Historical songs in this situation can be attributed to historical and ballad songs of social issues. Among the arrangements of folk songs for voice accompanied by bandura worth distinguish two ballads about love - «Oh Pine on the mountain» and «in Kiev on the market». At the heart of the first - known ballad «Cossacks rode home from the field» of abetting girl foreigners on the journey with her tragic end. By using permanent plot Folk ballads. Bandura successfully performs the role of accompanying, emphasizing texture chord dramatic accents work. Proposed S. Shtokalko support two versions with slightly modified harmony improvisation indicate how characteristic of the works of the artist [6; 253]. The ballad «In Kiev market» describes the theme of incest (brother and sister marriage). Dramatization ballads reinforced by the comparison of contrasting melodies majeure author in the lively pace of tragic plot. Rich bass line accompanied provides the effect of constant movement and octava repetitive passages eighth contribute injection duration tragic situation. An interesting example of the ballad of treatments Z. Shtokalko is the song «Dzhendzhura» which describes not tragic and funny situations in which falsehood woman deceived man presenting lover cripple, who asked to spend the night. Lyrics full of ballad plot structure, in particular, beginning with the exclamation «Oh» dialogue between actors repeats certain phrases, etc., it can be attributed to its lyrical epic themes. Active rhythmic pulse of bandura and generally accompanied by fast-paced adventure works emphasize its character. Ukrainian kobza and lyre player V. Kushpet - author of numerous arrangements of folk songs for Voice bandura. His creative approach to folk ballad «Quiet, quiet Danube water is» caused its new incarnation in the genre of vocal and instrumental imagination. By composition in the first three and last two stanzas retains tune ballads. In the middle of the work used and recitative vocalize, the latter thus simulating the sound of a violin, which plays a Cossack. Organic combination vocal and musical parties helps to delve into the essence of folk ballads and depressing story deep folk morality. G. sackcloth - Ukrainian choral conductor, composer [12; 48]. Ballad genre used artist in solo and ensemble vocal and instrumental arrangements. Love Ballad «Oh she went to pick mushrooms «and family relations» Oh grove in under greenbacks «in the absence of acute dramatic solutions migrated to the plane of family and home lyrics. But in shooting songs «Rode Cossack viynonku «(M. Haivoronskyi the words of members forging apartments USS) and» Give, girl, hand goodbye «(unknown author) adapted for fulfillment ensemble bandura, Genre source remained unchanged. In addition, works designed for male performance, organically combined with bandura game that symbolizes some way echoes the Cossack era when Bandura was a military tool and Cossacks used in campaigns. Prominent Ukrainian bandura, conductor National Honored Chapel Bandura M. Nail (1937-2010 gg.) Is the author of a considerable number of solo and ensemble vokalno- instrumental and instrumental arrangements and arrangements for Bandura [8; 46]. Works with ballad basis, including folk song «Oh, girl, proud and beautiful», «This is her destiny» (the words Shevchenko, an excerpt from the ballad «causal») and others. creative search M. Nail identified through the prism of family and home lyrics. His play «Beyond the Green meadow» is an example tool modification ballad genre bandura art. By conditionally stores verse-chorus form and register a song by texture changes in presentation theme. Pidholosky small duration, enriching chord theme, contribute to better disclosure of dramatic plot. The Quality display events contributes ballads and dynamic contrast, sudden sound styshennya the final part of the work associated with irreversible negative interpretation to his characters. P. Ivanov (1924-1973 gg.) - Bandura, the author arrangements of folk songs and instrumental works for the bandura [8; 96]. One of folk ballads, including Burlatskii song «And zabilily snow» in author’s vision of the artist transformed in the same instrumental piece. Frames work leyttema that depicts the snow-covered winter landscape. Then the sounds of language is a story about life haulers with appropriate climax and denouement. Frequently Used tertsialnyy presentation topics (Kharkiv way game) and use various techniques bandura play (tremolo, arpedzhovanyy chord, which covers three octaves, etc.) require high performance skill. Creative approach bandura virtuoso with B. Canada Mishalow led to the ballad genre its subsequent transformation in tool direction. In particular, the ballad literary origin «Oh do not go, Hryts» (with dedication G. Kytasty) serve to folk material for creation of similar instrumental solo variations. Song verse-chorus form B. Mishalov reflected in the subject, three variations and repetitions «singing» that serves arch frame work. Most dramatically intense is the second variation, which accounts culmination top Folk sample. Due texture modifications, tempo changes and a rich palette dynamic shades of meaning conveyed by the original vocal ballads to instrumental works, that took its rightful place in the academic bandura art. Ukrainian history is full of anxiety and tragic events, and the songs are often source of information about life and life for future generations of predecessors. Bandura as Ukrainian national instrument has always been a faithful companion Ukrainian. Therefore, historical and welfare ballads most widely represented in the form of bandura repertoire of solo, rare ensemble vocal and instrumental arrangements mainly with the preservation of folklore genre («Black arable izorana» - processing melons S., G. sackcloth, M. Nail, D. Hub’yaka, «Oh, on the mountain Fire burns «- processing V. Vojta, M. Teligi, Z. Shtokalko; «Song of Baida - treatment E. Dygas, Lysenko (arrangement for pandora AM Moxico Province), V. Talovyri, Z. Shtokalko; «On the Sava Chaly» - M. processing Domontovych recorded part of kobzar T. Parkhomenko, Z. Shtokalko; «On Bondarivna «- processing Dygas E., W. squash, G. Khotkevych Shtokalko S. et al. The modern ballad that is a source of enrichment and decoration bandura repertoire also mostly tend to historical and ballade of social issues. Unlike folklore samples are equally represented in the solo and ensemble vokalno- instrumental performance. In particular, solo, «The Ballad of Stepan Bandera» and «The Ballad of Sumy students «(words and music by Moxico Province),» The Ballad of Ukraine «(the words and melody I. Zinchenko, A. Vereschynskoho harmonization); ensemble, «The Ballad of Robin» (Muses. G. sackcloth text L. Zabashta), «Woman Drugova» «Oh rekrute-rekrute» «Oh, Bandura Bandura player» (words and music.A. Smyk, arrangements Thunder G., M. Cane), «Maple ballad» (words and music. A. Matviychuk,O. Bilozir processing, arrangement A. Shalay), «The Ballad of Ukrainian song» (ff. P. Tymochko, music. N. Ivanonkiv) and others. Conclusions and recommendations for further research. The study allows to distinguish The following options ballad genre in existence bandura works of Ukraine and Ukrainian countries: folk ballads; ballads literary origin; Copyright ballads; tools works based ballads. Processing ballads are divided into vocal and instrumental (solo, ensemble) tools (mostly solo). As a result of creative rethinking of composers and performers can bandura players, highlight the transformation ballad as a genre of vocal instrumental genre (plays, variation, fugue, fantasy). Often the ballad genre goes into other genres of folk-song (songs about love, rodynno- household, etc.) because they have no acute dramatic denouement. In some ballads theme redirected to another channel, so is their transition from one group to another genre of ballads. In the vocal and instrumental arrangements stable (relative to the original ballad) is a melody, rhythm, size and text or text fragment source. For bandura accompaniment ballad works bandura authors use specific means of expression of musical thought (arpedzhovani Search Search ґlissando, tremolyando etc.), which promotes better disclosure lyric-epic nature of the genre. To Mobile features include tune-harmonic language, tempo changes, dynamic content works and texture modification. For contemporary instrumental composition activity in bandura art characterized by mixing distant genres of folk and professional music (ballads and Fugues, etc.) followed by transformation of vocal instrumental genre.

Notices 1 Therefore, performers want to read primary sources of instrumental works (in the publication V. Martyniuk «Pieces for Bandura» S. Ovcharov takes samples of primordial folk instrumental compositions and their analysis [11; 7-9]).

References 1. Ballad / compilation. and copies. OI Dey and AY Yasenchuk, preface. OI Dey; il. Artist. OL Lysenko. - K. Dnieper, 1987. - 319 p. 2. SV Vishnevskaya singing in the evolution of the phenomenon bandura performing tradition: Author. Thesis ... candidate. Art. : Special. 17.00.03 - «Art of Music» / SV Vishnevskaya. - L., 2011. - 18 p. 3. Grits S. Ukrainian folklore XIX - early XX century and folk music. Essay / C. Grits. - K - T.: Aston, 2007. - 152 p. 4. OI Ukrainian folk ballad / OI Day. - K.: Science. opinion, 1986. - 263 p. 5. V. Dutchak Ukrainian bandura art abroad XX - beginning of XXI century: monograph / V. Dutchak. - Ivano- Frankivsk: Folio, 2013. - 488 p. 6. V. Dutchak professional development principles bandura art 1970-1990 years. Creativity and Performance: Dis. ... Candidate. Art .: 17.00.03 / Dutchak VG .. - K., 1996. - 240 p. 7. Zheplynskyy BM minstrels Ukrainian bandura and lyre. Encyclopedic Reference / BM Zheplynskyy, DB Kovalchuk. - LA: Galician Association Publishing, 2011. - 316 p. 8. A. Ivanitskii Ukrainian folk music / Textbook for higher educational institutions. / AI Ivanitskii. - Ball: NEW BOOK, 2004. - 320 p. 9. MB Lanovik Ukrainian folklore: a textbook. - 4th ed., Erased. / MB Lanovik, ZB Lanovik. - K: Knowledge Press, 2006. - 591 p. 10. V. Martyniuk Pieces for Bandura / Music. Ed. and vporyadkuv. S. Ovcharov / V. Martyniuk. - TV: Educational book - Bogdan, 2011. - 56 p. 11. Fly AI Composers of Ukraine and the Ukrainian diaspora Directory / AI fly. - K.: Music. Ukraine, 2004. - 352 p. 12. Exploration of Dragomanov Ukrainian literature and popular literature: the 4 t. - T. 1. - L., Circulation NTSh, 1899. - 260 p. 13. Ukrainian folk songs and historical thoughts: Coll .: for among. and Art. HQ. age / compilation., prymit. A. Talanchuk; Preface. BP Kyrdana; artist. KA Music. - K: Rainbow, 1990. - 239 p. 14. Z. Kobza Shtokalko / S. Shtokalko. - Edmonton-Kyiv: Izdatel’stvo Canadian Institute of the Ukrainian Studies, 1992. - 345 p.

Summary The place and role in the genre of ballad vocal and instrumental repertoire Bandura. It is proposed to analyze vocal and instrumental arrangements of ballads and examples of their transformation in academic genres instrumental in the work of Ukrainian Bandura Ukraine and abroad. Tags: ballad vocal and instrumental genres, bandura repertoire, processing, transformation.

Summary Duda L. Тransformation of the ballad genre in the creativity of bandurysts of Ukraine and ukrainian abroad It is proposed to analyze vocal and instrumental arrangements of ballads and examples of their academic transformation in instrumental genres in the works of contemporary Ukrainian Bandura Ukraine and abroad. Analyzes the work of the most famous composers, instrumentalists, the legacy of which built and materials of this article. The study allows the author’s opinion, to distinguish the following options ballad genre in existence bandura works of Ukraine and abroad Ukrainian: folk ballads; ballads literary origin; Copyright ballads; instrumental works based ballads. Processing ballads are divided into vocal and instrumental (solo, ensemble), instrumental (mostly solo). As a result of creative rethinking composers and Bandura implementing transformation can be identified as a ballad vocal instrumental genre to genre (plays, variation, fugue, fantasy). Often the ballad genre goes into other genres of folk-song (songs about love, family and household, etc.), because they have no acute dramatic denouement. In some ballads theme redirected to another channel, so is their transition from one group to another genre of ballads. In the vocal and instrumental arrangements stable (relative to the original ballad) is melody, rhythm, size and text or text fragment source. For bandura accompaniment ballad works bandura authors use specific means of expression of musical thought (arpedzhovani chords glissando, tremolyando etc.), which promotes better disclosure lyric-epic nature of the genre. The mobile features include tune-harmonic language, tempo changes, dynamic content works and texture modification. For contemporary instrumental composition activity in bandura art characterized by mixing distant genres of folk and professional music (ballads and fugue etc) followed by transformation of vocal instrumental genre. The modern ballad that is a source of enrichment and decoration bandura repertoire also tend mainly to historical and socio-ballade consumer topics. Unlike folklore samples are equally represented in the solo and ensemble vocal and instrumental performance. Key words: ballad, vocal and instrumental genres, bandura repertoire, processing, transformation, Ukrainian diaspora, maintaining performance traditions, historical context, the specifics of a musical performance, Ukraine, countries, artistic design.

Abstract Duda L.I. Transformation genre balladы in Ukraine and Creativity bandurystov Ukrainian zarubezhya Rassmotrenы place and role in balladы genre of vocal and instrumental repertoire bandurystov. Predlahaetsya vocal and instrumental analysis obrabotok s ballads and Examples Transformation in akademycheskye instrumental`ny’j zhanrы in Ukraine and Creativity bandurystov Ukrainian abroad. Keywords: Ballad, vocal-instrumental`ny’j zhanrы, bandurnыy repertoire, obrabotku, Transformation. Received 07/12/2014

UDC 78.071.2; 314,743 O.O. Chyher

ROLE OF MEDIA AND COMMUNICATIONS IN PROMOTING CULTURAL EVENTS SINGLES OF DIASPORA

The modern vocal performance art is characterized by high mobility of its representatives, Interference vocal schools. Lviv vocal school as a regional expression of national vocal school, has a glorious past and its representatives occupy a worthy place in the history of world vocal culture. A place of honor in the constellation of world ranked artists present young talented Ukrainian Star Kushpler opera singer (mezzo-soprano), who sings at many stages of Europe and the ninth season is soloist with the Vienna National Opera. The present article summarizes information about the concert and opera activity on S. Kushpler Abroad, presented in the mass media, especially the Internet, articles, materials of life and artistic activities actress. Identify Internet resources that contain Materials of Ukrainian concert and opera singer, is the main task of the proposed research. The article is to involve interactive technologies to review and study creativity singers Western Ukrainian diaspora. World criticism always distinguished Ukrainian singers not only for high performance skill but also emphasizes the exceptional natural beauty of voice, especially its color, timbre, powerful energy sound with unusual musicality. In the most famous contemporary cohort singers Western diaspora today: V.Lukianets, Andrew Shkurhan, Star Kushpler Sofia Soloviy Natalia Kovalyova and others. Starry Kushpler born April 21, 1975 in Lviv in a family of musicians who from birth oriented with its twin sister Helen on art. While studying singing in Lviv National Music Academy .. Lysenko in the class of his father, People’s Artist of Ukraine, prof. I. Kushpler (from 1993), she received not only professional vocal school, but important principles of conduct in the profession. Later, in an interview to «Lviv newspaper» on-line she shared the vital principles: «Stay yourself, respect others, do not despair and go further. Continuing to grow, to love people, to be able to be friends. No one was afraid, God! These are vital principles in which my parents brought Ada and I. Igor F. «[5]. Thinking about improving your skills and expanding horizons, Z. Kushpler of 1998 continued teaching at the Higher School of Music in Hamburg (class of Professor Judith Beckmann). The same, she won three international competitions and her work began to gain new momentum in the West. Singer also been improved in master classes in Libra Berhantsy. In 2000, after obtaining the I prize in the competition Bavarian Radio and Television (ARDWettbewerb, Munich) Scholarship Fund and Oscar and Vera Ritter, started an international career singer. Q. Kushpler sang in opera houses in Prague, Cologne, Berne, Madrid, Paris, London, Shanghai, Seoul, Taiwan, Singapore, Tokyo, Yokohamy, Graz and others. From 2007 Kushpler Star - leading soloist of the Vienna National Opera, and having 7 Speak leads active creative life. This operatic paradise, where every day are the best singers and conductors in the world, Z. Kushpler performs leading roles of the opera classic. [7] During the first six years at the Vienna opera singer participated in more than 300 performances and has performed more than 40 parties. Q. Kushpler running parallel at the invitation of the Viennese theater «Volksopera», where she sang in nearly 50 performances. With the Vienna opera S. Kushpler visited China, Korea, Taiwan, Singapore, Japan, Spain. Q. But Kushpler not resting on its laurels. She understands the need for continuous work on improve their skills, «singer must learn to end career! Before the tragic death father I always consulted with him. Now I assist in Vienna: sometimes ask workout distinguished colleagues, vocal technique which I like. As a professional immediately hear or vocalist sings only through natural talent, or «vedaet, do something», that has a good technical base. To I now like quality and extremely wise among soprano vocals: Nina Shtemme, Rene Fleming, Anna Netrebko, Angela Gheorghiu, Camila Nilund, Krassimira Stoyanova. With mezzo-soprano is - Lucian d’Intino, Olga Borodina, Elina Harancha, Joyce di Donato Bernapda Fink. Intentionally call their contemporaries, not known opera virgins past to emphasize the new names the opera for fans of Ukrainian art «[4]. The impetus for success for the young singer became an example of successful kontsertno- opera career with her compatriot Ukraine, as she recalls this: «Fifteen years ago I was incredibly impressed overlooking Vienna Opera, seeing her for the first time. I went a little inside the shop and saw a disc Irene Malanyuk1. Thought: «God, the Ukrainian reached such a level that it is sold at the drive! «. I imagined a hard drive in the place. Years passed, and now my Drive there actually sold. Dreams come true, everything is possible! We must want very, very not believe cease to learn and move forward! «[4]. Comparing the artistic principles of both singers can zauvazhaty many similarities: professionalism, excellent voice possession, high erudition (knowledge of many languages, art history) quick mastery and perfect performance multi-style repertoire (opera as well as concert and chamber), good communication with conductors partners (singers, accompanists) listener. Among the leading operatic roles, which often takes Z. Kushpler: Nero («The Coronation of Poppaea» C. Monteverdi), Sesto («Julius Caesar in Egypt» GF Handel), Marcelina, Cherubino, Sekstus, Dorabella, Amyntas («The Marriage of Figaro,» «Titus Mercy», «Così fan tutte woman», «King Shepherd» V.-A. Mozart) Rosina, Marquis Melibeya («The Barber of Seville», «Journey to Reims» James. Rossini), Carmen Mercedes («Carmen» by Bizet), Olga Pauline («Evgeniy Onegin», «Queen of Spades» by Tchaikovsky) Maddalena, Pretsozilla, Fenena, Eboli, Ulrika («Rigoletto,» «La forza del destino», «Nabucco», «Don Carlos» «Masquerade» J. Verdi), Suzuki («Madama Batteflyay» J. Puccini), Lola («Cavalleria Rusticana» Mascagni), Mari («The Flying Dutchman» by Richard Wagner), Erda, Shvertleyta, Valtrauta, Magdalena («Das Rheingold,» «Valkyrie», «Götterdämmerung,» «Nuremberg Die Meistersinger» Wagner), Gertrude, Martha («Romeo and Juliet», «Faust» Gounod), Adelaide («Arabella» by Richard Strauss), Marina Mnishek («Boris Godunov» Mussorgsky), Juliet («Tales of Hoffmann» by J. Offenbach), Count Orlovsky («Fledermaus» by J. Strauss), Masha («Three Sisters» by Otvashi) and others. The singer has worked with renowned conductors - Seyzhi Ozawa, Rene Jacobs, Christoph Eschenbach, Sir Neville Merriner, Franz-Velser Location, Zubin purpose and others. Her regular partners on stage are the following outstanding singers of our time as Placido Domingo, Anna Netrebko, Dmitri Hvorostovsky, Rollando Villason, Agnes Baltsem, Thomas Hampson, Samuel Remy, Edita Hruberova, Ramon Vargas, Roberto Alania, Jose Kura and others. Specially created for the singer’s personal website «Zoryana Kushpler» [22] containing extensive information on its activities, submitted a list of all parties that it performed, poster tours, biography, repertoire, photo gallery, audio recordings of operas, Internet articles about the singer, and also discography and contacts. The website provides information in two languages - English and German. This talent every fan of the singer can get closer to her work. Many photos of opera performances, concerts and private life of the singer is on various Internet-pages. This combined imaging and audio and video recordings help a complete picture of the singer and her work. Q. Kushpler is active user Social networks (Vkontakte, Odnoklassniki, Facebook [19]), which readily communicates with fans and enthusiasts, publishes information about its concert and opera diyalnist2. Much of the video Records from operas and solo chamber concerts Zoryana Kushpler contained in the web-site «YouTube». Increased attention is drawn to video recordings of chamber concerts of the singer in Austria. An important means for better acquaintance with the work of the singer and her serve her numerous interviews to online publications, which are at different sites on the World search engine «Google». Q. Kushpler conducts active concert activity, Philharmonic performed in Sao Paulo (Brazil) to Lera Ayerbah works, Carnegie Hall (New York, USA), Royal Albert Hall (London, Great Britain), Herkules Sall (München, Germany). Basically it gives recitals accompanied by sister A. Kushpler (piano), who also finished LNMA them. Lysenko Music School and Higher Hamburg. Sisters concerts for many years together. Their joint recitals held in Concert House in Berlin, Layshalle in Hamburg, Schloss Nyumfenburh in Munich, Ton Halle in Düsseldorf, Rurfestshpilhaus in Reklinhauzeni, Kassel, Musikverein Vienna Riga [3]. At the concert in Musikhalle (Hamburg, 2003), singer performed works by Berlioz, Wagner, Maurice Ravel and Rachmaninov. Online publishers «Sikorski» hosted not only the message recital singer in Musikhalle in Hamburg (2003), where he performed works by Shostakovich on poems of Marina Tsvetaeva, but also presents excerpts from approving reviews in local newspapers «Hamburger Abendblatt »and« Die Welt »[9]. Q. Kushpler had a big solo concert at the famous Vienna Musikverein (2013). The website of the Embassy of Ukraine to the Republic of Austria read, «March 6, 2013 in Vienna Philharmonic held a solo concert of known Ukrainian opera singer, diva Vienna Q. Kushpler opera, concertmaster A. Kushpler. Q. Kushpler concert program composed of works world famous composers, attended by representatives of artistic and musical circles of Vienna, local Embassy and Ukrainians «[8]. It is frequent concerts with orchestras in Europe and the US. She made the tour of Switzerland cantata «Alexander Nevsky» Prokofiev (Radio and Television Orchestra in Warsaw Woyzeck leadership Paradise), «Nelson Mass» Haydn (Orchestra of Radio and Television Germany under the leadership of Neville Gray Merinnera). The singer took part in the first performance «Requiem poet» Lera Auerbach in Hannover (Orchestra of Radio and Television in Germany leadership Ezhi Oue) had concerts with the orchestra in Schleswig-Holstein Musik Festival opera arias and duets (Radio and Television Orchestra under the direction of Germany Lykasha Borovichi, 2011). Cooperates with Petersen Quartets. In 2004 they had a joint tour of Italy with the works French composers E. Chausson Leko and in 2006 made a concert in Schleswig- Holstein Musik Festival with works by Shostakovich. In 2012 the singer was the first concert performance in the United States, taking part in the opening concert of the season in Cleveland. In Severans Holly performed Cleveland Symphony Orchestra and chorus sounded symphony number 3 Mahler. Music critic S. Lewis in the article on the site of the city wrote, «mezzo-soprano S. in his Kushpler American debut performed Mahler symphony, based on the texts of Nietzsche, with incredible seriousness, having a powerful voice, expressing a surprising sensitivity to the text as well as to Orchestra. It would not be difficult with further employment on the continent « [13]. In unison with him one American critic Daniel Hetavey, who noted that the fourth part of the symphony - a vocal monologue poem by German philosopher Friedrich Nietzsche «Thus Spake Zarathustra, «» entirely dependent on Ukrainian mezzo-soprano S. Kushpler that focused on sound the proclamation of the deepest thoughts of mankind «[12]. This part, according to the composer, «transfers sad sad atmosphere of the night and minds of the depths of human misery. Chest contralto timbre, its quiet recitative interwoven with tremolo zasurdynenyh muffled bass of «organ» sonority horns «[2; 262]. The program of the first part of the concert in the Musikverein in Vienna (March 2013) featured works of Spanish composers Enrique Granados, Federico Mompou [10], Manuel de Falla [14], in the second - by Russian composers Mussorgsky, Rachmaninov [16]. In chamber concerts Q. Kushpler perform Russian romances accompanied by guitarist Gerhard Loffnera [20], music Russian composers of the twentieth century. accompanied by the pianist Pavel Singer [1]. Q. Kushpler forgets Ukraine. April 24, 2013 in Lviv Philharmonic she took part concert in commemoration of his father - People’s Artist of Ukraine, gold baritone, Professor I. Kushpler. It was a concert of vocal works professor in the performance of his students, and groups Students LNMA them. Lysenko. April 27 in memory of him sounded «Requiem» J. Verdi, which was attended by his daughter, Sofia Soloviy soprano, tenor Roman Trohymuk bass Viktor Dudar and Galician Academic Chamber Choir, Symphony Orchestra of Lviv Philharmonic Galician Choir «Gloria» under Vladimir conductorship Syvokhip [11]. Q. Kushpler - winner of many international competitions, it is highly appreciated in Austria and Germany. In 2010 as part of a music festival «Schleswig-Holstein Musik Festival» in German m. Travemünde (Schleswig-Holstein) Foundation Walter and Charlotte Hamel awarded its Prize «For outstanding achievements performing.» Noted its technical perfection, accuracy and authenticity combined with interpretatsiy bright personal charisma [6]. Playing her brilliant performance at this festival were works of various styles, from Baroque (Handel) to expressionism (Mahler) [15]. The singer took part in various music festivals in Berlin, Munich, Hamburg, Hannover, Düsseldorf, Lübeck (Germany) Innsbruck, Graz (Austria), Basel, Zurich, Geneva, «Verbier» (Switzerland), Venice, Milan, Rome, Florence (Italy), Madrid, Valencia, Zaragoza (Spain), Riga (Latvia), Lviv (Ukraine). Q. Kushpler collaborates with contemporary composers. At the festival in Verbier she gave Lera Auerbach work for mezzo-soprano, piano and cello solo in the performance which took participated as composer pianist, solo cello performed Gautier Kapyusson. The concert repertoire S. Kushpler are various forms and genres. In chamber music he embraces all styles of classical music - from baroque to postmodernism. Singer Exercise such masterpieces of world classics pasionah solo parts in cantatas and Bach, oratorios GF Handel’s «Requiem» by Mozart, «Requiem» J. Verdi Symphony number 9 Beethoven, Symphony number 3 G. Malyera, cantata «Alexander Nevsky» Prokofiev; vocal works of H. Purcell, Mozart, Schubert, Schumann, Berlioz, Brahms, F. Mendelssohn-Bartholdy, S. Frank, M. de Falla, Granados G., M. Ravel, Respighi O., Donizetti, Mussorgsky, Tchaikovsky, Rachmaninov, Shostakovich. Singer seeks Viko-nate not only individual works, but cycles. In particular, cycles Mussorgsky «Songs and Dances of Death» [21] «Children room «Schumann» Love and life are women, G. Mahler’s «Song of children who died,» «The Magic Horn boy «,» 7 last songs, «» Song of the Earth «, Shostakovich ‘six poems at poetry M. Tsvetaeva» M. de Falla «7 Folk Songs», K. Mont salvadzha «5 Negro songs.» In the musical works Artist and skillfully reveals the deep content and means of vocal art presents it in an understandable, accessible to every listener form. The singer has numerous recordings on radio and television in Europe, Asia and America. Her discography has 6 albums. The company record «Capriccio (Naxos Deutschland Musik & Video Vertriebs)» singer took the CD with the works of Shostakovich (poem by Marina Tsvetaeva) with Perersen Quartett (2008) «Slawische Seelen» (vocal works by Russian composers Tchaikovsky, Rachmaninov, Rimsky-Korsakov, M. Musorh-sky) in a duet with her sister Helen (2010) [18] and «Original soundtrack von la Tregua». In early 2013 S. Kushpler recorded a new CD with the works Spanish composers (De Falla, Montsalvadzh, Rodrigo, Granados), dedicated to the memory of his father. Also recorded and ready for release a CD with works of Alexander von Tsemlinskoho ensemble «Linos». With the participation of S. Kushpler firm «Orfeo International Music Gmbh (Orfeo International Music) released the opera «Faust» Gounod (2010), released on DVD operetta «Fledermaus» by J. Strauss (festival in the city. Myerbish, 2012), the opera «Arabella» by Richard Strauss (Vienna National Opera, 2012). Young singer conducts master classes for students of music schools. One of them held 24-25 November 2011 at the Great Hall LNMA them. Lysenko in the cycle vocal master courses «Return to Alma Mater or call the soul.» The multi-faceted creative activity S. Kushpler are reflected in the press. Here’s some of the reviews. Barbara Patch Online «Die Presse» has published an article about the operetta «Fledermaus», in which Q. Kushpler performed the role of Count Orlov. In particular, it says: «Kushpler elegantly combines oligarch today with the royal aristocrat, the difference between them is not so great «[17]. Straight Broadcast operetta with the participation of the singer Austrian TV broadcast July 12, 2012 year. Kurt Vlach wrote: «Kushpler the previous year is well developed as a singer and now achieved significant results in his career, leaving only a small step that it made International breakthrough. Superb sensual, Slavic timbre, very good equipment, attractive appearance and acting talent - enough for rapid career. We can happy for her, but sorry if that singer will not work in the Vienna opera «[22]. The singer in an interview for the daily online newspaper «High Castle» Nice so Nikaleo favor of himself: «I do love, what would deal with early childhood, and this passion I still have not passed, and I hope that will never pass «[4]. In summary, we note that concert and opera activities Z. Kushpler, typical creative maturity and thoughtful vocal magic is in active growth. The young singer is constantly enriches his repertoire, seeking new color voice, where organically intertwined tenderness, grace and depth. Q. Kushpler enriching works excellent variety of shades skills create original artistic images. She tours extensively and glorify Ukraine in the world artistic space, using mass communication that perform the following function in promoting the singer’s artistic activities: information (report its key events artistic creativity), communication (facilitate communication with specialists, managers, colleagues, supporters creativity), spring (as a basis for generalizations musicological) aesthetic and hedonistic (bring aesthetic pleasure, pleasure). In view of the expansion communication processes in today’s globalized world, the media give each user perspective to become closer to the works of this talented singer.

References 1. Aryozo IZ opera Eugene K. Molchanov «A Zori quiet here»: Z. Kushpler - mezzo soprano. P. Zynher - Piano [electronic resource]. Access: https://www.youtube.com 2. History zarubezhnoy Music: Textbook. Vol. 5: End of the XIX - beginning of XX century / red. I. Nestev. - M. Music, 1988. 3. Kontsertnыe tsyklы: Z. Kushpler (mezzo-soprano, Germany), O. Kushpler Piano, Germany) [electronic resource]. Access: http: // www.hbf.lv 4. Nikoleo N. Kushpler Star: «I once saw in Vienna CD Irina Malanyuk – and next to his imagined ... «/ N. Nikoleo // High Castle on-line. - 2013. - May 28. [Electronic resource]. Access: http://www.wz.lviv.ua 5. Noskovsky B. «My father was a very decent man»: a conversation with Zoryana Kushpler, Vienna Opera soloist / V. Noskovsky [electronic resource]. Access mode: http://www.gazeta.lviv.ua/culture/2013/05/01/10590 6. Pevytsa Zoryana Kushpler poluchyla premium support. - 27.08. 2010 [electronic resource]. Access: http://www. sr.ru/klassik/pevica-zoryana-kushpler-poluchila-premiyu-podderzhki.html 7. Full list of parties Z. Kushpler opera on the stage of the Vienna State Opera, see .: SUCHERGEBNISSE. Vorstellungen mit Zoryana Kushpler [electronic resource]. Access mode: http://db-staatsoper.die-antwort.eu/search/ person/5163 8. Recital Zoryana Kushpler [electronic resource]. Access mode: http://austria.mfa.gov.ua/ua/press-center/ news/10695-solynij-koncert-zoryani-kushpler 9. Die Kushpler-Zwillinge mit Schostakowitsch in der Hamburger Musikhalle [Electronic resource]. Access: http:// www.sikorski.de 10. Frederic Mompou «Cantar del Alma» Zoryana und Olena Kushpler [electronic resource]. Access: https://www. youtube.com/watch?v=LycLiiBt-Zc 11. G. Verdi «Requiem» in memoriam of Ihor Kushpler. S. Soloviy, Z. Kushpler, R. Trohymuk, V. Dudar. Teil 1-3. [Electronic resource]. Access mode: https://www.youtube.com/watch?v=xbS83zK9vzI&index=9&list=UU1heIz0V0ay KtC4m7fMZkUg; https://www.youtube.com/watch?v=F-sNzJOTrNY; https://www.youtube. com / watch? v = g D78j4- dqSU & index = 7 & list = UU1heIz0V0ayKtC4m7fMZkUg 12. Hathaway D. Cleveland Orchestra season opener: Mahler’s Third at Severance Hall (September 20. 2012) / Daniel Hathaway [electronic resource]. Access: http://clevelandclassical.com 13. Lewis Z. New Cleveland Orchestra seaso n gets off to grand start with Mahler’s Symphony No. 3 / Zachary Lewis. - 2012. - 21 Sept. [Electronic resource]. Access mode: http://www.cleveland.com/musicdance 14. Manuel de Falla «Asturiana» Zoryana und Olena Kushpler [electronic resource]. Regime Access: https://www. youtube.com/watch?v=6xaocK96TwE 15. Mezzosopran im dramatischen Format // Hamburger Abendblatt, 14. August 2010 [Electronic resource]. Access: http://www.hfmt-hamburg.de/uploads/media/ Pressespiegel_August_2010.pdf 16. Musikverein. Zoryana & Olena Kushpler. Gläserner Saal / Magna Auditorium, 6. 3. 2013: zurück zu Programm [electronic resource]. Access: http://www.musikverein.at/konzerte 17. Petsch B. Seefestspiele Mörbisch: Eine bezaubernde «Fledermaus» / Barbara Petsch // DiePresse.com. - 13.07.2012 [electronic resource]. Access mode: http://diepresse.com/home/kultur 18. SLAWISCHE SEELEN / SLAVONIC SOUL: SZORYANA KUSHPLER, Mezzosopran / Mezzosprano, OLENA KUSHPLER, Klavier / Piano. Lieder Russischer Komponisten / Songs by Russian composers [electronic resource]. Access: http://www.capriccio.at/slawische-seelen-slavonic-souls 19. Zoryana Kushpler [electronic resource]. Access: https: // www.facebook.com/zoryana.kushpler 20. Zoryana Kushpler. Gerhard Löffler / Gitarre Russian Romance [electronic resource]. Regime Access: https: // www.youtube.com 21. Zoryana Kushpler. Modest Mussorgsky: Songs and Dances of Death (Lullaby) / Saarländische Rundfunkorchester. Dirigent Lutz Köhler [electronic resource]. Access mode: https://www.youtube.com; Zoryana Kushpler. Modest Mussorgsky: Songs and Dances of Death (Trepak) [Electronic resource]. Access: https: // www.youtube.com 22. Zoryana Kushpler: personal website [electronic resource]. Access mode: http://www.zoryana-kushpler.de

Summary Analyzed concert and opera singer Zoryana Ukrainian activity in the world through Kushpler the prism of modern media and communications. Thesis there is determined the function of these vehicles in promoting the art of the singer. Tags: singer concert repertoire Star Kushpler, Internet, website, press, communication.

Summary Chyger O. Role of the mass media in the promotion of diaspora singers activity Analyzed concert and opera activities Zoryana Kushpler Ukrainian singer in the world through the prism of modern media and communications. The present article summarizes information about its concert and opera activities. Thesis there is determined the function of these tools in promoting artistic activities singer. It is noted that the global criticism always distinguished Ukrainian singers not only for high performance skills, but also underlines the exceptional natural beauty of voice, especially its color, timbre, powerful energy sound with unusual musicality. In the cohort of the most famous singers of modern Western Diaspora today: V.Lukianets, Andrew Shkurhan, Star Kushpler Sofia Soloviy Natalia Kovalyova and others. The article contains some biographical data singer discussed her time training and professional education, analyzes the specifics of study abroad at the Higher School of Music. Hamburg (1998) and the participation and victory in three international competitions. In 2000, after obtaining the I prize in the competition Bavarian Radio and Television (ARDWettbewerb, Munich) and Scholarship Foundation Oscar and Vera Ritter, the singer’s international career began. Q. Kushpler sang in opera houses in Prague, Cologne, Berne, Madrid, Paris, London, Shanghai, Seoul, Taiwan, Singapore, Tokyo, Yokohamy, Graz and others. Since 2007, the singer is the soloist of the Vienna National Opera and maintains an active concert life. During the first six years at the Vienna opera singer participated in more than 300 performances and has performed more than 40 parties. Parallel to this, she is active at the invitation of the Viennese theater «Volksopera», where she sang in nearly 50 performances. With the Vienna opera S. Kushpler visited China, Korea, Taiwan, Singapore, Japan, Spain. The materials and articles referred to her teachers and mentors. This information is presented through the memories and numerous interviews that gives the singer a leading media communications. Significant place in the ranks of Article characteristics of operatic roles and concert rooms, which performs at the opera and concert performances of singer and names are conductors with whom she has performed on stage. Especially for the singer created a personal website «Zoryana Kushpler» [22], which contains extensive information on its activities, submitted a list of all parties that it performed, poster tours, biography, repertoire, photo gallery, audio recordings of operas, Internet -Articles about the singer and discography and contacts. The website provides information in two languages – English and German. This talent every fan of the singer can get closer to her work. A large number of photos of opera performances, concerts and private life of the singer is on different Internet- pages. This visualization, combined audio and video recordings and helps to create a complete picture of the singer and her work. Q. Kushpler is an active user of social networks (Vkontakte, Odnoklassniki, Facebook, which readily communicates with fans, publishes information about its concert and opera activities. Much of scenes from operas and solo chamber concerts Zoryana Kushpler contained in the web-site «YouTube». Increased attention is drawn to videos chamber concerts of the singer in Austria. An important tool for better acquaintance with the work of the singer and her serve her numerous interviews for online publications, which are at different sites on the World search engine «Google». Key words: singer concert repertoire Star Kushpler, Internet, website, media, communication, opera, media, global context, music, fans, instrumental music, international competitions.

Abstract Chyher O.O. The role of information and funds massovoy kommunikaczii in sodeystvyy tvorcheskoy Pevtsov activities dyacpori Analyzyruetsya concert opernaya Activities ukraynskoy pevytsы Zoryanы Kushpler skvoz sovremennыh prism of the media. Be allocated media function in the process pidderzhky hudozhestvennoy pevytsы activities. Keywords: pevytsa, concert repertoire Star Kushpler, Internet, website, Press, komunykatsyya. Received 11/11/2014

UDC 7.079 (477) I.L. Bermes

«GOLDEN KIEV» THE FESTIVAL MOVEMENT UKRAINE PERIOD STATE INDEPENDENCE

At the turn of XX-XXI centuries. Art, a new picture of the world, due to many factors, first of globalization, intensive development model of post-industrial society, systems World Communications etc. This directly affects the outlook of man, his interaction with the outside world and society, spiritual and creative self-expression in the various fields of art. In today’s world there are always new forms kulturotvorchosti, coexisting with the traditional, partly displace them. In the modern era Ukraine one of the most popular forms of cultural relations between people became a choral festival movement - bright, original phenomenon, encompassing more and deeper layers cultural space. He not only led to the expansion of cultural boundaries, but also promoted the involvement participation in festivals choirs in other countries simultaneously - Ukrainian choirs led to overseas scene. Festival activities has been regarded as a promising direction of cultural policy. Although music festivals as creative actions were the subject of attention by L. Parkhomenko, AM Cherkashynoyi- Gubarenko, A. Roschenko, L. Shapovalova, G. Stepanchenko, Sikorsky, V. Redi, A. Lunin, Dyachkova O. Yu expectations, B. Syuty, M. Shved, S. Zuev et al., Choral festival «Golden Kyiv «has not become the object of study musicologists, historians and social scientists who have uncovered it general laws as an important national cultural events of life. Therefore, the purpose of article reduced to systematize empirical data on choral festival «Golden Kyiv» as element of cultural and creative processes. Today in Ukraine began many choral festivals like International («South Palmyra «,» cathedral singing «contest-festival them. P. Muravskyi, «Musical meeting» «Chime», «Easter Assembly») and regional («Choral Assembly M. Leontovich,» «Nizhyn- Choir Fest «,» Ring votes Sicheslav «,» Kalyna singing «,» Chernobaevsky solo «). All of them teaches choral performance to a new, higher level. Although it is not easy to organize and finance, but they «intensify particularly important factors affecting the level of singing the national culture, which is the most effective way of comparing its quality artistic events abroad «[2; 71], - emphasizes LV Parkhomenko. The most notable choral music forum is «Golden Kyiv» established beginning with M. Hobdych 1997 It involves the leading Ukrainian and foreign groups. It features its high level, and, to some extent, unique. He has become a significant event in the cultural life of Ukraine. Concert of the festival – unique, they become a real event for choral «gourmet.» The organizers set themselves the goal give a «start in life» works of Ukrainian composers of different eras and styles, artistic play image of a musical work, give it a new quality, not away from the source. Festival program - diverse, they popularize Ukrainian choral music of ancient times present. «Card» choir-festival is «creative portraits» of contemporary artists. Thus, the «Golden Kyiv» 1997 was devoted to choral works of Vladimir Stepurko called «The wonderful world of» 1998 - Yu Alzhnyeva - «Awakening» in 1999 - L. Dychko - «Echo of Ages», 2000 - Stankovych – «To You, O Lord, I have cried.» Already the first festival aroused considerable admiration V. Stepurko music, which distinguished «Special intonation magic» and «poetic attracted the author’s view of the world, in his macrocosm and unique manifestations of the spiritual nature of man «[2; 73]. Attracted the attention of high level of performance, «... music played on spiritual texts and tunes processing Kiev. In «Five spiritual choruses «, framed by two canonical prayer -» Our Father «and» Creed «, conquered and sound truly intimate, light, transparent; and bright effects - kindness «caught» tart overlay votes. In the «Kiev chants of» tempo was good decision. In processing Victor Stepurko and interpretation Nicholas Hobdych tune «Uslyshy, mja Lord» has acquired new and more modern colors; and in «Arkhangelsk voice» suddenly stood out features partesnogo chants and cants «[6; 4]. The second «Golden Kyiv» continued the line of monographic concert was dedicated creativity Kharkov composer Yu Alzhnyeva. His programs have enabled students zapiznatysya «... With the artistic style of our contemporary composer from his personal experiences and world reflection «[1; 13] reveal the world view of the artist «... cosmogonic world of our ancestors through relicts ritual, words and praintonatsiyi syncretism, theatrical performance «[2; 73]. The third «Golden-Kyiv» is «a portrait» L. Dychko. As for the premiere of «Festive liturgy «in choir» Kyiv «Stepanchenko AG emphasizes:» Implementation of this grand by plan composer canvas ... it was wonderful. The sound of the choir attributed listener up, forcing forget all the petty, everyday, everyday and bathe in luxury choral singing, enjoy high spirituality of work «[7; 4]. At the «Golden-Domed Kyiv» in 2000 became the nominee Y.Stankovych. Concert-portrait presented Psalm audience, composed at the request of M. Hobdych and sounded alternately female, male and mixed choirs, choral concert «O Lord, our Lord,» «service for the dead with hunger» (sl. D. Pavlychko), «Symphony-Diptych» (ff. Shevchenko), «Kupalo» (the second performance of the opera «When in bloom fern «). Perfect performance choirs «Khreshchatyk», «Kyiv», «Resurrection», «Tavria toll «Honored Academic Folk Choir. G.Veryovka «discovered» Stankovych «as choral symphonies of the underlying concepts and virtuoso technique of writing «[2; 74]. Exclusive fifth was «Golden-Kyiv» in 2001, including its first concert under the name «Choral antiphons.» The sound chamber choir «Kyiv», «Khreshchatyk» Male Choir them. Revutsky, female choir «Pavana» Pedagogical University. Drahomanov in Refectory Church of the Kyiv-Pechersk Lavra grew «from traditional everyday tunes symbolizing continuity and inviolability of tradition «[10; 6]. «Music is designed to perform it is in the church (...), bore the imprint of a closed volume with accentuated his bulge lines special resonance final chords that sound echoed in the dome (...). Lives and created vibrating unit, a special energy field over the heads of the audience «[10; 6]. As part of the festival was held nationwide competition «Spiritual hymns», which to 60 scores. He encouraged composers (G. Havrylets, I. Aleksiychuk, B. Fils, V. Stetsenko, V. Stepurko, V. Runchak, B. Field, Y. Ishchenko) for writing highly artistic works, of updated election genre, using the appropriate «intonation dictionary» (B. Asaf’yev) program title contest. In the final, best choirs Kyiv completed 12 contest opus. Competition - an example of mutual cooperation of the organizers of the festival and composers for a common goal - the rise of national musical culture. The original centuries roll illustrating concerts VI and VII «Golden Kyiv». To They included works by prominent artists past and present. In particular, 2002 was music composer of the eighteenth century. M. Berezovsky and modern - V. Runchak; 2003 - master of the seventeenth century. M. Diletsky and our contemporaries - M. Skorik. Works of Diletsky sounded in execution Drohobych municipal chamber choir «Legend» («four-liturgy», conductor I. Tsyklinskyy), female choir «Pavana» Art Institute named NEA. Dragomanov («Ispovidaytes» «Praise» (even concert), «Your Izhe image» (choral concert), conductor L. Baida) Kirovograd munytsypalnoho chamber choir («Liturgy of Kiev» conductor Yu Lyubovych) munytsypalnoho chamber choir «Khreshchatyk» (dvohornyy concert «Entering Thy Church t», «body Christ «(verse sacrament), conductor L. Buhonskaya) municipal chamber choir» Kyiv «(« Liturgy preportsialna «,» Come, let us lyudie «(vosmyholosyy concert), conductor M. Hobdych); Choirs «Kyiv» and «Khreshchatyk» under the direction of Hobdych hymn «Resurrection canon.» The last work «or not Diletsky most complex opus «sounded» big, fresco «[4; 5], - said G. Stepanchenko. Psalm Skoryk to VII Choir Festival voiced female choir «Pavana» («Do not punish Me, Lord «), mixed choir» Khreshchatyk «(« Save me, O God «), the State Academic Men Choir them. Revutsky («Do you me, dear God, for ever forget»). Municipal Chamber Choir «Kyiv» presented the Audience Concert Requiem. «In the interpretation M. Hobdych He came true dramatic sound and perceived not only as a canonical funeral Mass, and primarily as a piece of music, which through personal perception of tragic conflicts of life emerges the greatness and beauty of high spirituality «[4; 5]. VIII choral festival has continued the traditional «Golden Kyiv» practice perform pieces by composers of different eras: M. Verbitsky (XIX century.) and B. Zubytsky (our contemporary). Performing «Liturgy» M. Verbitsky was so natural that there was noticed four teams who voiced her («Kyiv», «Khreshchatyk», «Pavana» Chapel of them. Revutsky). «The unique acoustics of the temple (Refectory Church - IB), reverb, echo created specific molytovnosti lasting impression, unearthly sound, the feeling of grace which was granted to all present ... «[9; 5]. Two Psalms, dedykovani father D. Zubytsky, choral concert «my mountains» flawlessly choir performed «Kyiv» cantata «Fair» - Choir students of the Art Institute named NEA. Drahomanov (headed. M. Kovalik). «Especially masterly, technically accomplished sounded» Drymba «(from the concert» Mountain My «- IB). All sang, played for, was moving in a dynamic mood, «- emphasizes G. Stepanchenko [9; 5]. On VIII «Golden» M. Hobdych responded as follows: «This year the festival traditionally revealing little-known pages of the past and present, once again confirm the high reputation Ukrainian choral school, able to excite the hearts of not only a beautiful voice that for centuries Ukraine brought glory but also a great school of composers of different periods, all of which shows high choral culture of our people «[5; 3]. The real discovery for fans of choral music at the VIII «Zlatoverkhy fest» (2004) was the performance Kyiv Choir «Credo», whose members performed «Liturgy demestvennogo» A. Hrechaninov. «The sound of the choir captures the audience’s attention, wins a special depth, sincerity, emotion, depth of domestic content ... His distinctive sound ... singers … confirming his creative credo: «unity high artistic level of warmth and sincerity prayer «[3; 23]. 2005 IX choral festival «Golden Kyiv» presented the works of two authors - M. Leontovich and AG Havrylets, continuing the tradition roll music of different eras. «Liturgy St. I. Chrysostom «M. Leontovich sounded in the Refectory Church of the Kyiv Pechersk Lavra performed four groups: state of male choir named. Revutsky, female choir «Pavana» Art Institute named NEA. Drahomanov, chamber choir «Kyiv» and «Credo.» «Choir sound ... - pidmichaye G. Stepanchenko - noted the particular depth in which the merger of the four timbres organic and choirs were filled. Ensemble impressed balance and acoustic efficiency. Songs sound that flew in height under the arches of the church, then held the audience, forcing them it catches your breath «[8; 3]. Choral Music AG Havrylets performed in two parts: 1) spiritual («Hail Mary,» «Let God arise «(Easter concert ps. 67),» Blessed is he who takes care of the poor «); 2) folklore («sorry my sorrows, «» Stepping wheel «(folk concert to folk texts),» prostitutes vitronku «). Stepanchenko AG emphasizes: «Choral G. Havrylets writing, especially in its folk music, impressive instrumentation timbre, in this it is close to the characteristics of choral thinking Mykola Leontovich «[8; 4]. Continuity of tradition combining ancient and modern choral music reflected and tenth Festival «Golden Kyiv». His concerts were presented works Yatsynevych J., A. and V. Silvestrov Yakovchuk. The high level of performance culture demonstrated choir «Kyiv» in the first part of the concert which featured medieval monody Sixteenth century. Concert № 3 «Dokoli Lord» A. Vedel, «Resurrection canon» M. Diletsky in second - Ukrainian folk songs in the elaboration Havrylets G., A. Avdeyevka, N. Nyzhankivskyi, IV poor, Chmut A., V. Zubytsky and others. Liturgy J. Yatsynevych voiced Refectory Church of the Kyiv-Pechersk Lavra mixed choirs «Kyiv», «Credo» female «Pavana» and the Male Choir them. Revutsky. «Unearthly sounds located on the perimeter of the church ...... choirs struck devotional chants force created outstanding Ukrainian master. Romantic music in the Liturgy J. Yatsynevych oduhotvorennыy four choirs performing interpretation (...) by N. Hobdych caused emotional shock the audience ... «[5; 2-3]. In the performance of chamber choir «Khreshchatyk» was first performed Liturgy of St. John Chrysostom A. Yakovchuk in which the composer found a great personality. According to G. Stepanchenko on composer Alexander technique Yakovchuk «affected the tradition of sacred music Bortniansky, Vedel, M. Leontovich and work of contemporaries - L. Dychko and Stankovych «[4; 3]. In addition, the team presented and O. Yakovchuk secular music, including folk songs in Ukrainian processing wizard. Choral works by V. Silvestrov heard in two parts in the interpretation of chamber choir «Kyiv» («Liturgical Chants», «Diptych») and «Credo» («Psalms» on Taras Shevchenko’s poems, «Two prayers» on Lermontov words, «Five Spiritual Songs»). «Two talented teams – draws Stepanchenko GM - profoundly revealed the diversity of choral music V. Silvestrov, his original style - mobility textures, unusual spatial-acoustic sound, feeling out outside the real world ... «[5; 3]. Most eleventh concert choir-festival «Golden-Kyiv» is dedicated to 240 anniversary of birthday A. Vedel, which became the main event of the artistic event. 28 spiritual concerts great master «golden age» recreated municipal chamber choir «Kyiv» (M. Hobdych) Male Choir them. Revutsky (Yu Kurach) Chamber Choir of the Kharkiv Philharmonic (V. Palkin), Uman Municipal Chamber Choir (Yatlo L.), female choir «Pavana» NEA them. Dragomanov (LA Baida), choir «Cover» Holy Protection Church (A. Radko). Premiere «Liturgical slavosloviya» M. Shuha choir sang «Thought» under the direction of E. Savchuk, and Ukrainian contemporary music composers - Chamber Choir «Credo» (B. baldness). «Golden-Kyiv-2008» presented works of two prominent personalities: our contemporaries - Polish composer R. Twardowski and the representative of the baroque era - Ukrainian author Seventeenth century. C. Pekalytskoho. It was also presented their printed music CDs and choral works. Liturgy «Kiev» R. Twardowski made municipal chamber choir «Kyiv»; interesting Program presented as «Khreshchatyk» (P. Struts), student choir KNUKiM «Anima» (N. Krechko), «Oreya» (A. Vacek), «chimes Galician» (I. Demyanets) and others. XIII festival was dedicated to the creative «portraits» of the famous Ukrainian composer Stetsenko. In the Refectory Chamber Kyiv-Pechersk Lavra sounded three choral composition: «Liturgy of John Chrysostom,» «Vigil» and «Panyhyda», dedicated to the memory of Lysenko in performed by chamber choir «Kyiv», «Khreshchatyk» State Male Choir them. Revutsky, female choir «Pavana». The concert programs choir XIII-fest performed sacred music as S. Degtyarev, VI Domaratskoho, V. Silvestrov. L. Parkhomenko emphasizes the educational and patriotic concept of the «Golden Kyiv». In her opinion, choral music «with unbalanced system where sporadically showed its capabilities some groups turned to zhyttyediyalnu industry with bright prospects where implemented rich creativity of composers, comes a powerful educational process artistic collectives of artistic activity for the public, supported music public «[2; 76-77]. Two notable features of the festival «Golden Kyiv»: 1) M. Hobdych as passionary personality attracted searching, editing, publishing and recording digital media spiritual works Ukrainian composers of previous eras, especially the Baroque era, leading academics and Professional teams of Ukraine; encourages contemporary artists to write spiritual songs; 2) choral festival has become a symposium to which are invited to exchange views, experiences leading choirmasters country. This helps shapes development prospects choral field, «Discovery» of new music, the emergence of innovative creative concepts, distinguishing features Choral and Performing Arts choirs problems in modern sociocultural Space of Ukraine. The current «gold-domed Kyiv» - school stage and cognitive skills simultaneously. Participation in this international festival for choral conductors and singers - very significant event. Festival appearances on concert stages require painstaking hard work and complete return. Choral Performance is constantly evolving and improving, according rising skill requirements singers. Participation in the choir festival is on its milestone creative way. «Golden-Kyiv», as well as other choral festivals, conductors and encourages artists to improving professional skills, maintaining a high level of performance groups, expanding palette of repertoire and finding interesting interpretational versions. As a form of realization choir spiritual potential, the festival is a platform not only to showcase achievements but also share experiences, new knowledge, it attracts listeners to listen to your favorite music, unique atmosphere of elation, which enables communicate with members and supporters, to compare different versions and so on. Personal contacts «Knowledge» of different music composers and singers are encouraged to creativity. Arguably, the «Golden-Kyiv» as the optimal form of the music shares, took its rightful place in the Ukrainian and international cultural space, and interest in it growing every year. Over the years, this choral festival has become a cultural institution that promotes socialization and self-performers and conductors, allowing for cultural Ukrainian pryluchatysya values, to learn cultural traditions, enables creative growth in most conditions enabling professional communication enriches the emotional and spiritual potential of the Ukrainian society.

References 1. V. Osipenko Structural-semantic invariant choral concert (based on choral Yu creativity Alzhnyeva): Abstract. Thesis. ... Candidate. Art. : Spec .: 17.00.03 / V. Osipenko. - H., 2005. - 20 p. 2. L. Parkhomenko Choral Festival forms of integration movement of Ukraine (achievements «Golden Kyiv») / L. Parkhomenko // Studies of art. - 2008. - Part 4 (24). - P. 71-77. 3. Conducted Stepanchenko G. and his «Credo» / G. Stepanchenko // Music. - 2008. - № 2. - S. 22-23. 4. Stepanchenko G. «Golden Kyiv» - ages roll / G. Stepanchenko // Music. - 2003. - № 5-6. - P. 4-5. 5. Stepanchenko G. «Golden Kyiv» / G. Stepanchenko // Music. - 2006. - № 5. - P. 2-4. 6. Stepanchenko G. «Golden Kyiv» in Kyiv autumn / G. Stepanchenko // Zerkalo Nedeli. - 1997. - № 45. - Nov. 6. 7. Stepanchenko G. «Golden Kyiv» presents: Les Dychko / G. Stepanchenko // Culture. - 1999. - Nov. 5. 8. Stepanchenko G. «Golden» / G. Stepanchenko // Music. - 2005. - № 5. - P. 2-4. 9. G. Stepanchenko Choral picture / G. Stepanchenko // Zerkalo Nedeli. - 2004. - № 24. - Jun 18. 10. Chekan A. At the intersection of planes / Chekan O. Yu Chekan // Zerkalo Nedeli. - 2001. - № 23. -Jun 15.

Summary Highlights features choral festival «Golden Kyiv» as a dynamic and dialogic creative action, which has high performance level teams zhanrovo- stylistic pluralism opus Ukrainian composers, thematic focus, stability of relationships between the performers and the audience. Keywords: M. Hobdych, choral festival «Golden-Kyiv» program, composer, conductor. Summary Вermes I. «Zolotoverkhyi Kyiv» in the festival movement during Ukraine’s Independence Festival movement today in regions associated as a substitute for purposeful program of cultural services. However, the country is now conducted many similar festival events, which not only solve the program of cultural services, but also significantly expand its horizons as they involved teams of high professional level and system of festival events more close to bankruptcy option. In the modern era Ukraine one of the most popular forms of cultural relations between people became a choral festival movement – bright, original phenomenon, encompassing more and deeper layers of cultural space. He not only led to the expansion of cultural boundaries, but also facilitated the involvement choirs festivals in other countries simultaneously - Ukrainian choirs gave to foreign scene. Festival activities has been regarded as a promising direction of cultural policy. The author presents the list of the most famous festivals of the modern period of development of Ukraine and detects the specific conduct of some of them. This article highlights the features choral festival «Golden Kyiv» dialogue as a dynamic and creative action, which has high performance level teams, genre and stylistic pluralism opus Ukrainian composers, thematic focus, stability of relationships between performers and audience. Modern festival «Golden Kyiv» is a school stage and cognitive skills simultaneously. Participation in such international festivals for choral conductors and singers - very significant event. Festival appearances on concert stages require painstaking hard work and full commitment. Choral Performance is constantly evolving and improving, according rising skill requirements singers. Participation in the choir festival is a milestone in his career. «Golden-Kyiv», as well as other similar choral festivals, conductors and encourages artists to improve professional skills, maintaining a high level of performance groups, expanding palette of repertoire and finding interesting interpretational versions. As a form of realization of spiritual potential choir, the festival is a platform not only to showcase achievements, but also the exchange of experience, new knowledge, it attracts listeners the opportunity to listen to your favorite music, unique atmosphere of elation that gives an opportunity to communicate with members and supporters, to compare different versions and so on. Personal contacts, «knowledge» of different music composers and singers are encouraged to creativity. Arguably, the festival «Golden Kyiv», as the optimal form of the musical events, took a worthy place in Ukrainian and international cultural space and interest in him is growing every year. Over the years, this choral festival has become a truly cultural institution that promotes socialization and self- performers and conductors, allowing Ukrainian pryluchatysya to cultural values, to know their own cultural traditions and traditions of the participating countries, enables creative growth in conditions most favorable professional communication enriches emotional and spiritual potential of Ukrainian society. Key words: M. Hobdych, choral festival «Golden-Kyiv» program, composer, dyryhentt, festival movement, the period of Ukraine’s independence, competitive programs, artistic groups, participants, competition, music, choral art.

Abstract Bermes I.L. «Zlatohlaviy Kiev» festival movement in Ukraine period Gosudarstvennoye independence Features Osveschayutsya choral festival «Golden Kiev» As a dynamychnoy dyalohycheskoy tvorcheskoy shares, kotoroj prysuschy Highest Level yspolnytelskyy collectives, genre-stylevoy plyuralyzm opusov of Ukrainian composers, tematycheskaya napravlennost, Stability vzaymootnoshenyy Between Artists and listeners. Keywords: N. Hobdich, horovoy festival «Kiev Zolotohlavыy» program, composer dyryzher. Received 09/10/2014

UDC 7 (477.8) S.V. Vytkalov

ART FESTIVAL UNDER INOKULTURNOGO AND THE MILITARY EXPANSION

In teaching, as we know, is not only urgent problems but also eternal problems, among them -identity formation. Therefore, in the context of the many forms of spiritual development of children, aimed at formation of personality, is not the most important is its formation in terms of extra-curricular, cultural leisure activity, since informal work, that work is not limited to any ideological influence, wider spiritual communication, constant contact with different forms and media Culture and is the component through which the younger generation is growing spirituality. Today it is one of the most urgent educational problem, because managers withdrawal many educational and teaching institutions from active participation in the organization of the event in the educational, unwillingness or thoughtless hope that the baby will form itself and only this is real democracy and led to the spirituality that blossomed so abundantly present among children countries. This is recognized by all members of the educational and educational space. This underlines the representatives the scientific community (A Boiko, I. Zyazyun, TV Kara Vasilieva, Petrov, A. Semashko, etc.). In this connection XII Festival of «Golden stork» organized by the Academy of Children’s Creativity. Nikolayev spent the Children health center «Space» on the Black Sea in the period 28.06-05.07 2014, it became unconditional confirmation. By the way, this secondary institution, the 20th anniversary of the founding of which was held in November 2014, is a nationwide art scene experiment, author G. Matveeva School. Today he thanks Teaching staff employees, has composed nearly 90% of the children participating in various subject competitions and contests (according to 2013-2014 BC. p.) [3], and once again shows a direct correlation art education, broad extracurricular artistic activities and creative achievements in the subject general area. I note, without exaggeration, given the experience with festival events Volyn [1] that for the number of participants covered, bright artistic creativity, lots of improvisational forms P. Kulishenko - leading many show programs (and later - and equally bright presenter final events and gala concert - A. Brednyevoyu) and promptly, professionally and discreetly directed for children required channel that this event is unparalleled in Ukraine as the number of participants (an average of 600-700 annually), and on the themes of their work. Moreover, this year it held in extremely difficult for the country when military equipment and strengthened outfits relevant security forces within the festival in some way affect the psychological state of the participants and their parents. However, the overall thrust of the patriotic event once reaffirmed that Ukraine is the only state. And everything that promotes cultural development, emphasized in his letter to Einstein, Freud more than 100 years ago - is working against war. AND children’s competition figures in the sand «Ukraine - the only country», and Day of Neptune, and all artistic repertoire teams, attire and even predominantly Ukrainian language spoken at the event were compelling evidence of the above thesis. The festival program was very intense, because the action took place simultaneously in several areas. This made it possible not only to diversify the program of activities for all who was present at the amphitheater, cinema, town folk arts and crafts, etc., but once just ensure unlimited creativity of children, their propensity to constant improvisation creativity. And in this way the organizers have tried as much as possible to satisfy cultural recreational space and their influence on the spirituality of children coast vacationing there in time event management festival «Golden stork». For example, take one day of the festival - June 29: in the qualifying rounds of the event was listened to a lot of vocal ensembles, dance groups viewed «home Logging «representatives of arts and crafts and started training them competitive work; conducted master classes in choreography People’s Artist of Ukraine G. Chapkis, deployed original show «sixth sense.» All this ended with no less bright themed disco «Meeting faithful friends» and the traditional final event organizers action. Further planned density only increased. And despite the fact that the children were able to feel and the joy of communication (because many participants are involved in the festival has many years), not forgetting the main purpose of his stay in the wellness center «Cosmos» - the sea and recreation. A part in the event People’s Artist of Ukraine, President of the International Association of Schools of copyright H. Chapkis with his brilliant master classes for children, heads of art collectives of the country and all those wishing to learn the art of dance magic, and limitless possibilities of creative communication maestro of the audience, the festival became a real gem. Add that such measures Gregory Nikolayevich held annually and allow representatives of many health centers Coast also join the high art of choreography in his brilliant interpretation. This aura of the festival successfully retained and expanded and famous Ukrainian pop vykonavtsi- Participants gala concert - M. Nitich - winner of the special prize of A. Pugacheva International festival «New Wave 2009», winner of the art festival of young performers in Jurmala, Honored Artist of Ukraine A. Prince, winner of the Ukrainian TV project «Voice country «(Ivan Gordienko N. Ostrovsky),» X Factor «- A. and B. Romanchenko Kinzov duet» Anna Maria « prize winners of national contests dancing in the category «Inva-sport» and others. [2], some of where his creative growth also began at this event. Therefore, their performances became on a bright show of involvement in the execution of their works all comers. By the way, has many years row they help to diversify artistic Impreza «Golden stork» unite around Festival thousands of talented children and demonstrate that success in the country’s real. And outlined above thematic series proves that art can do a lot to expand cultural contacts between the children and make them really spiritually rich, eliminates any ideological bedding and more. Regarding the characteristics of individual components of the event, it must be emphasized that in contrast to those occurring in Ukraine today, this was a feature that was as follows: firstly, Festival action unfolded simultaneously on many sites, which made it possible to sufficiently short for leisure time (7 days) to maximize the festival the number of forms of artistic self-certifying participants and the professionalism of the organizers. Secondly, it is quite a large number of guests, despite the threat of disruption event west through military developments in the country, and therefore no possibility of the arrival of many artistic groups different regions of the country. It was presented and listened to or viewed 160 works in vokalno- choral genre; 40th choreography 41st genre of instrumental pieces, 22 - Performing works genre, 240th genre of arts and crafts and drawing [2], including representatives from Luhansk, Donetsk, Mariupol, Crimea. Third, a differentiated approach to the wide selection of creative forms of self-realization: if Works category ‘Arts and Crafts’ thematic focus was really childish - «Merry leveret», «Cat», «Miracle DAC», «Dog with olenyatkom» «Good doctor Ai hurts», etc., in Representatives nomination «vocal-pop genre» or «People’s instrumental work» were represented a truly complete vocal and choral, pop melodies, quite spiritually understood and interpreted qualitatively children. This was evident both in the technical aspects, and in report forms of a work to the audience. Although, given the situation in general anxiety country in virtually all genres patriotic component was noticeable, «towel», «T. Shevchenko», «My Ukraine «,» Peace «(« arts and crafts «). Moreover thematic focus performed works fully meet the age group of participants. Fourth, the first time the event was held master classes in pedagogical skills for heads of amateur artgroups. Therefore, the latter had an opportunity to chat with professional scientists and educators who see the problems more commonly creativity and education general. Statements generally confident that this festival event, undoubtedly, will be the subject of further conceptualize. It held in the framework of its four-hour master class with teacher Excellence in teaching the Summer School by the Institute of Teacher Training and Education Adult National Academy of Pedagogical Sciences of Ukraine - doctor of pedagogical sciences, professor, head of the department of educational ethics and aesthetics Otych A., Doctor of Pedagogy (Department of Theory and History pedagogical skills), Professor Alexander Lavrinenko, Doctor of Psychology, head department of educational psychology and psychology of work, Professor E. Pomytkina, Doctor of Pedagogy, Professor L. Pomytkinoyi (Kyiv National Aerospace University), Researcher Department of Theory and History of pedagogical skills A. Borovik (m. Mykolaiv) and candidate teachers Sciences, a member of the Academy of Children’s Creativity V. Mozgovyi for leaders of children’s art groups and everyone, once again confirmed that representatives of research institutions of NAS of Ukraine is not is the only highly professional scientists, but no less professional popularizers domestic teaching experience, able to convey theoretical developments to public teaching public, be useful for elementary art education system in Ukraine. Today, not only fans, but the whole system of high school really necessary professional theoretical developments scientists, especially regarding pedagogical skills, as the latter and serves the source for whereby their creative achievements of teachers of various parts of the national education system will realized in pedagogical practice everyone working in the «man-man». A traditional Master Class Honored Artist of Ukraine, member of the Union of craftsmen Ukraine L. Ivanitskaya contributed to better assimilation of national artistic techniques of embroidery. Incidentally, creative L. Ivanitskaya communication with the leaders of the artistic circles of arts and crafts are many years promotes artistic contacts in the West and East Ukraine. Largely influenced the further professional skills of participants during the festival and workshops and movie theater artists, members of the Union of theatrical figures of Ukraine Leonid courmelles and the nominee merits V International Theatre Festival «Homo Ludena» «For Best Actor the role of «Robert Smith (m. Mykolaiv). They also provide some degree increase professional artistic culture of the participants directly at the process of competitive shows. Note also and almost imperceptible to the participants, but highly professional, balanced, and extremely precise activities of members of the organization and creative team Matveeva Anna Dmitrievna - Mayborody T., V. Mozgovyi, P. Kulishenko, A. Brednyevoyi, N. Frolova, G. Maiboroda, A. Partyka, Stempkovskyj J. et al., Which also ensured the success of this event once again testified that the essence organizational issues lies primarily in the fact that everyone in his place, within their own expertise involved in the business. This is a basic rule in life is at the same time the foundation basic theory and practice of management. And it noted the chairman attended the festival Mykolayiv Regional Administration, Hero of Ukraine Mykola Romanchuk, head of Mykolaiv Regional Council T. Flint and other representatives management structures of the region and the media. But it proved most convincing children and their parents, where the event had actually organized. And if the country is so professional and talented children organizers of the artistic component of their free time, its future really happy! In short, XVII Festival of «Golden stork» to enter artistic treasure of Ukraine as another step in acquiring professional experience in similar event in, formation of patriotism in young people of Ukraine, its artistic growth, will promote artistic specialties of this original institution called the Academy children’s creativity (and since 2013 - Nicholas Municipal Teachers College) represented by its Head - Honored Worker of Education of Ukraine, a talented teacher and manager GD Matveeva, and therefore - will continue at a new level and prepare professionals capable of these Experiments deepen in parts of the country or abroad, as some graduates of the institution are work or continue their creative self abroad. Convincingly confirm this thesis and thorough study prepared by many of the above members of the teaching staff who really have something to say to my colleagues and children for and creative growth which was based this educational and experimental center in Ukraine which for 20 years already gives joy to communicate to thousands of Ukrainian children. Recall According to teacher-talented instrumentalist first half of the twentieth century GG Neuhaus that talent to create not possible. However, it is realistic, stressed further author - to shape the cultural environment, that is the basis on which grow and are formed talents. And the wider and more democratic environment is, the more likely the appearance in it of talent and even genius [4]. The Academy of Children’s Creativity realizes this fully.

References 1. Vytkalov SV Rivne, cultural and artistic potential in paradigms of modernity: monograph / SV Vytkalov. - Exactly: PPDM, 2012. - 416 p .; Vytkalov C. .: Cultural and artistic Ukraine regional measures: monograph / SV Vytkalov. - Exactly: M. Dyatlyk, 2014. - 362 p. 2. XVII Festival of «Golden stork»: program event // Current Archive of the Academy of Children’s Creativity. Nikolaev for 2014 - 16 p. 3. From the interviews conducted by the author of the article with the head of the Academy of children’s creativity. Nikolaev GD Matveev 05.07.2014 p. // Private Archive SV Vytkalova. 4. GG Neuhaus Rev. art fortepyannoy games. Notes educator / GG Neuhaus. - Moscow: Muzhyz, 1958. - 317 p. Summary We consider forms of artistic realization of the initiatives identified during the seventeenth International Children Festival «Golden stork», organized by the Academy of Child creativity c. Mykolayiv in June and July 2014. Keywords: Festival of children’s creativity, artistic self-realization, Academy of Child creativity, College of Education, cultural activities, leisure.

Summary Vitkalov S. Artistic festival as form of patriotic education in the conditions of cultural expansion We consider forms of artistic realization of the initiatives identified during the XVII International Children Festival «Golden stork», organized by the Academy of Children’s Creativity c. Mykolayiv in June and July 2014. Analyzes the forms of participation of children in cultural programs of this international event, the most successful numbers, shapes enhance cultural and artistic creativity during festivals. The author adds that the general and long-term participation in this festival representatives of foreign countries is undeniable cultural effect – because it promotes understanding among children about the spiritual climate of other countries, forms of work with the younger generation, helps avoid ideological or political misunderstandings among themselves and thus contributes cultural unity children. Emphasized the important role of participation in such activities of artists and young performers from Ukraine, showing children participating like artistic potential. Much attention is taken away characterization system of competitive measures in various categories: arts and crafts, vocal and choral, pop and other arts; revealed the importance of preparing «home designs» which are obov’yakovoyu for participation in the festival events. It is noted that these cultural and artistic initiatives that nearly 20 years organized by Mykolayiv Academy of children’s art, aimed not only at the formation of the personnel of the organizers Supervised child in modern Ukraine, but also make it possible to follow changes in the shape of the system school education in the country; analyze the best experience similar system of cultural and leisure activities, based on art. Proved that the system of specially organized activities also helps to better realize the modern child. This is confirmed by the characteristic art events during the festival. The specific organizational and cultural activities organized by the teaching staff Mykolaiv Academy of children’s creativity, his ability to organize various events, which only reinforce in the minds of the governing structures of the importance of children’s art in today’s conditions, when the country goes on Russia’s military expansion. Much attention is paid to the analysis of the effectiveness of the Summer School teacher skills, which for several years organized by the National Academy of Pedagogical Sciences of Ukraine for art managers festival participants and workshops of dance, annually organized by People’s Artist of Ukraine Hryhoriy Chapkis and decorative art, including – artistic embroidery, which traditionally holds Honored Artist of Ukraine Lydia Ivanytska. Key words: Festival of children’s creativity, artistic self-realization, children’s art academy, Teachers College, cultural activities, recreation, organization system, master of arts, competitive selection, choral art, choreography, crafts practice intercultural contacts of children.

Abstract Vytkalov S.V. Arts Festival and in terms ynokulturnoy voennoy эkspansyy Implementation Rassmatryvayutsya forms hudozhestvennoy ynytsyatyvы, proyavlennoy IN TIME Conducting XVII of International Creativity Festival childish «Golden Stork» orhanyzovannoho Creativity Academy childish G. Nikolaev in June-2014 yyule year. Keywords: Creativity Festival childish, hudozhestvennaya samorealyzatsyya, Academy Creativity childish, pedagogical college, CULTURAL Activities, aktyvnыy recreation. Received 07/11/2014

UDC 78,034 (477.51) O.A. Kavunnyk

CREATIVE ARTISTS BEAUTIFUL ANCIENT CITY AS A CULTURAL LOCUS SOCIO-UKRAINE FOR TURN OF THE CENTURY

Research regional aspects of musical culture is a priority Ukrainian contemporary musicology. They contribute to understanding of the national system musical heritage, showing its diversity and integrity versus fragmentation typical Soviet times in the disclosure forms of musical life in large and small cities, towns Ukraine. Working semantic foundations of spiritual kinship artistic activities in the context of signs national mentality principles form the scientific concept of regional research format social and historical existence regions of the country. This work convinced scientists that was in the last decade accumulated a large amount of books (M. Cherepanin, V. Kononov, Kyyanovska L., Martyniuk T.), theses (A. Litvinenko, G. Lokoschenko, L. Mazepa, A. Vasyuta) scientific collections, articles on various aspects of the disclosure, periods of musical life never before investigated the provincial cities of Ukraine. In a number of examples - V. Kuzyk research where the first author cultural localization theory adapts to the national Ukrainian soil from the standpoint of historical and political state, arguing reasonably concept rozoseredzhenosti as cultural centers Socio-specific loci provincial space [1; 20]. Assertion of these provisions from the position last and present in the formation of domestic music traditions, genres of vocal, choral, chamber-instrumental, orchestral music is a work of musical life in small cities of Ukraine such as: Stryj (O. Mironova), Yavorov, Przemysl (B. Fils), Coloma (L. Kossak-Bab’yuk). The relevance of the study motivated by a desire to reveal the set of all musical aspects culture of the emerging creative activities through professional musicians and amateurs, media academic, folk, pop art in the context of understanding the social experience national, historical and cultural memory etnospilnoty specific regional features locally musical life certain cities as socio-loci Ukraine. «In order to come close to the volume cultural vision necessary to investigate layers «deep bedding» study phenomena second order «[2; 3]. Culture-activity musicians - natives of small (provincial) the city as a result of creative contacts and promotes the development of cultural traditions the great cultural centers of Ukraine, including Kyiv. An example is the work of artists – natives Left-Bank Ukraine - Mykola Lysenko - from Poltava, Zankovetska, F. Protsenko – with Chernihiv and others. Thus states the thesis lyudynotvorchu essence of culture. The purpose of the article is to show features musical life as a cultural socio Nizhyn Left-Bank Ukraine Chernihiv locus. Base their definition of sources are archival materials, periodicals Nizhyn different years, the scientific literature, non-fiction, reference. On the history issue known that in the context of the establishment of forms of amateur music Nizhyn groups played a significant role Cossack music shop, which existed in the eighteenth century. Him Music - violinists, piper, cymbalists, singers, choristers served family celebration (birthday, christenings, weddings) performed musical and theatrical performances, acted in the general assembly Nizhyn the community. Development of instrumental music genres and types of solo and birth ensemble performance, music-theater, which will gain popularity in the music Nizhyn life in the second half. XIX - early XX century., Other than of local musicians, and kobzars lyre, contributed presentations wandering clerks in Nizhyn fairs in the eighteenth century. Forms chamber music house that existed in the second half. Nineteenth century. in music families F. Protsenko, A. Dokshytsera, which also acted B. Verzhykivskyy pianist, cellist C. Vilkonskyy, violinist J. Moskvychov, stepped creation tool, vokalno- choral, musical and theatrical foundations of cultural traditions that were leading to participants in amateur musical groups of the city over the next decades of the twentieth century. Their activities was an important component in the musical life of the city. To a large extent this served cultural and educational policy Nizhyn schools. This is where concentrated artistic potential of experienced teachers-students and musicians – amateurs art. Evidence of the importance of acting in a beautiful ancient musical amateur groups are prestigious list international and regional competitions and festivals of the late XX - early XXI century., which took part in Nizhyn musicians. Thus, in the 1960s. This is - the World Festival of Youth and Students in Moscow (1961), in 1970-1980-ies. - Kyiv teleturnir «Solar clarinets.» Starting in the 1990s. Nizhyn performers participated in numerous musical projects, namely: - Ukrainian choral music: them. M. Leontovich (Kyiv, 1997) «Dawn Artek» (Crimea 2002, 2004, 2006), «South Palmira» (Odessa, 2000), «sings Kyiv Region» (Kyiv, 1999, 2001), «O Mother of God, of Paradise blooms» (Ternopil, 2004); - Foreign Choral Music by them. Brahms (Germany, 1999, 2001, 2007), «The universities sing «(Poland, 2003); - Vocal and instrumental «International Festival of Slavic music» (Kharkiv, 2006); «Friendship» (Str. Senkivka - annually); - Tools, «Chords city» (2007), «Play accordion» (2005), «Siver Spring» (Nizhyn, 2007); - Folklore-ethnographic «Veresaev Holiday» (1993), «Krolevets towels» (1994) «Heritage» (1995), «Red slide» (Russia, 2004); - Composition activity, «Ash hrёzы» (Russia, 1999), «Moscow Autumn» (2002); - International competitions instrumental ensemble music Prague, Paris (1996) Moscow (1998), Kuibyshev (1997). S music old Nizhyn visit cards, starting with the 1990s. Children were exemplary chorus «Glow» music school and university youth choir «lamps,» brass orchestra and stage folk-group «People’s fountain of» College of Culture and Arts, folklore-ethnographic ensemble instrumental «Nizhynsky music» folk ensemble «Red Cranberry» choir veterans of war and labor in the city’s House of Culture. Currently active members of musical life Nezhine are: - Choirs children «Glow» and theater songs «Vivat» music school; Student Choir «Lamps» NDU them. Gogol; Choir of war and labor veterans city House of culture; church Choir «Resurrection» Nijinsky Cathedral of All Saints of the Kiev Patriarchate; - Folk group: national scenic folklore group «People’s Well» NUKiM them. Zankovetska, ensemble of folk song «Red Cranberry» student folklore Ensemble «Kalynonka»; - Dance groups: «Woodland rainbow» House of Culture Nizhyn, youth dance ensemble «Rhythm», a children’s dance group «Flowers Ukraine», Student dance «Nizhyn», children’s ensemble «Victoria». The reference to the creative and biographical data of these groups demonstrates a culture- role in the functioning of every musical environment Nizhyn at the turn of the century. Amateur folk-stage band «fountain of People» was created in 1981 on the basis NUKiM them. Zankovetska. Its founders and artistic director of the A. unchanged Tit - conductor, I. Tit - Head instrumental group. Over 25 years of creative activity, and they have devoted to the revival spread in concert song Treasures of Ukraine, were considered students to authentic folklore of the region, which designs popularized in Ukraine, Russia, Belarus and Germany. For the creative aspect «People’s well» is characterized by matching music and style content of a work, stage behavior, artistic performers, elegant attire national dress singers and instrumentalists. Basis concert band are theatrical ritual action, based on the popular material personally recorded during folklore expeditions by Nijinsky, Mena, Koryukovka, Nosivski, Ripkinskomu areas. Their repertoire - instsenizovane ceremonial actions «Oh Midsummer», created by folk expeditions to materials northern regions of Sumy and Chernihiv. The basis of the folk ritual song «Carnival» are examples of folk song Novgorod-Seversky region Chernigov. Theatre and ceremonial actions «Wedding» written in time folk expedition to the village. Flat Nosovskogo area. To put programs and treatment Ukrainian folk songs arranged Sinitsy VI: Song of the spring cycle: «Oh spring, spring, yes vesnyanochka «» Come, come Ivanku «summer series» Shoyu radish chepurnenko «lyrical and humorous. Biography team awarded the honorary title of laureate contests and folklore festivals, among them: «Sun Clarinets» (Kyiv, 1993), International Festival «Friendship» (Str. Sinkivka 1993, 1995, 2003, 2007), II International Youth Festival «Heritage» (Kovel, 1994), the International Folklore Festival «Red slide» (Bryansk, Russia, 1996, 1998). Review Ukrainian folk art (Kyiv, 1999), VII Ukrainian festival «Krolevets towels «(Krolevets, 2002), Ukrainian Folk Festival» Veresaev holiday «(Sokoryntsi, 2003), Ukrainian Folk Festival «Talismans Ukraine» (Krolevets, 2005). Amateur folk group «Red Cranberry», which consists of teachers, doctors, managers, founded in 1983 R. Bubbles. In the repertoire of authentic samples folklore recorded in villages Krapyvne, Tereshkivka Nijinsky district, p. Pryputni Ichniansky area. The team made a record 12 Ukrainian folk songs to the Fund Ukrteleradio. «Cranberry Red» won the title of «People» won (third place) Folk competition «Wings of Ukraine» (Vinnitsa, 1995), represented Ukraine in 1999 at the festival of Bojana m. Trubchevsk Bryansk region (Russia), was the winner of international folk festivals: «Lesyni sources» (Novograd Volyn, 2000), «Friendship» (Str. Sinkivka, 2001), «Ring dulcimer and harmonica «(m. Posture, Belarus, 2000),» blossoms, Cossack glory! Light a sign! « (Radivilov, Rivne, 2003), «Dnepr voices in Dubrovno» (Belarus, 2005, 2007). Team Members are active musical community work far beyond Nizhyn: performed on stage memorable Square in 2004, took part in the «East and West together» (Chervonograd, Lviv, 2005), the «Ukrainian House» in the International Day of Disabled Persons (2005), in Museum of Tripoli culture (2006, 2007). Every year on the feast day of independence of Ukraine staff speaks at the grave of Taras Shevchenko in Kanev on Chernecha mountain. Along with amateur choral groups named the city is actively serves amateur choir war and labor veterans (almost 40 singers) House of Culture based 1985 (conductor - I. Lytvynets-concertmaster of accordionists A. Patashovym). Repertoire team up riznozhanrovi works of Ukrainian and foreign composers, processing Ukrainian folk songs. The chorus is a member of citywide events involved in mentoring and educational work with young people of the city: citizens presented him memorable vechory- meeting «Tell us about your youth» evenings memories «Davnыm ago bыla War» themed nights (in memory of Taras Shevchenko), New Year and Christmas holidays, Pokrovsky Fair. The team participated in the third Folk Festival «Spassky Forum» (Nezhyn, 2003) IV regional festival «Remember those years» choirs of war and labor (m. Rolls Kharkiv region., 2003). Tradition concert performances have become veterans in the city. Priluki (2002- 2005). Registry amateur choral groups Nizhyn 1960-1980’s. Includes amateur Teachers Academic Choir of the city, which operated for 40 years. Prior to its establishment in the 1960s made efforts cormorant P., V. Danarek, Honored Worker of Culture of Ukraine S. Yastremskaya. Next 30 years Capella managed lecturer in vocal and choral music and teaching skills University Faculty L. Cherry, who raised choir performing culture on a high artistic aesthetic and concert performance level. Under her leadership, choir teachers promoted Academic Ukrainian, Russian and Western European choral literature, participated in national television contest «Solar clarinets», become silver and bronze medal Republican and All-Union review of teachers’ groups. Highlight of the many concerts Nizhyn, Chernihiv for six years was in the 1970s. Choir boys with 100 members under the leadership of founder and conductor A. Lashchenko - a teacher of music and Faculty of Education. Choir Nijinsky became a favorite of the public, enchanted them capella singing, inspirational fulfillment of Ukrainian folk songs, works of A. Lasso, G. Sviridov. In 1970s. Distinguished faculty and the University Choir, directed by one of the first graduates faculty, then his teacher V. Kokodiy. The team played three times in the program «Solar clarinets, «sounded in Ukrainian Radio was the winner of the All-Union review of art, dedicated to the 40th anniversary of the Great Victory. High level conductor and vocal and choral culture contributed to the development of teachers concert stage performing student ensembles musical-pedagogical, philological, Physics and Mathematics of the NDU them. Gogol. An example of the integration of students from different Departments in a team became a university choir «lamps» which opened a new page in Youth of amateur choral singing. The founders, Artistic Director and conductors «lamps» are Shumska L. and L. Kostenko, artistic tandem which successfully reveals itself in many competitions, festivals, concerts, reviews. Team debut, started in 1993, took place at a gala concert to mark the 1000th anniversary Nizhyn with the sound of choral works «Night» in the words Ikonnikov V. Gogol, «Song of Ukraine» T. Petrinenko. A strong foundation forming an active cultural and artistic policy «Lamps» were the 1990s - a time of formation of the Ukrainian state, which stimulated conscious selection of repertoire, based on - national choral music. Jubilee concert on the occasion of the Decade «lamps» took place in the hall of Nijinsky University. Gogol and Hall of Columns. Lysenko National Philharmonic of Ukraine, which has been highly recognized professional musicians, including People’s Artist of Ukraine, winner Shevchenko Prize, composer L. Dychko, who said that «youth choir» lamps «- prezentant high educational image Nizhyn higher school «[3; 71]. Constantly expanding creative horizons «lamps» which has toured in Ukraine, the Europe: Poland, Italy, Germany, Hungary, Austria, Greece, Belarus, France. His stsenichno- executive manner inherent perfect vocal-choral sound academic style, stage culture and artistry. Their repertoire requires improvement of 4 programs differentiated by genre from more than 300 works: Ukrainian sacred music; of Ukrainian folk songs; writings Ukrainian and foreign composers, fragments from operas: «Prayer» from the opera «Cavalleria Rusticana» P. Moskan’yi «Rusalsko bathed» with folk opera «Fern Flower» E. Stankovic, the first picture of «Eugene Onegin» by Tchaikovsky. All this proves the relentless performing the search opportunities choir «lamps» Nijinsky University. Gogol, who at the beginning XXI century. occupies a prominent place in the context of Choral Art Nizhyn, Chernihiv and Left Bank Ukraine in general. At the beginning of XXI century. along with amateur music groups in culture- process contains a significant role and dance. Their roster headed ensemble «Woodland rainbow» created in 1955 at the House of Culture Nizhyn A. Howler, one of the first choreographers professionals in town. Its successors were L. and A. Boryhiny that still remain one of the artistic traditions oldest amateur dance groups Nezhin. Evidence of this - the title of «people’s» (1970), diploma winner of the amateur folk art festival (1970) participation in the republican television tournament «Sun Clarinets» (1974). Statements team broadcast on television during the Republican report on the regional arts festivals «Melodies of Friendship» (1974). The creative works of A. Boryhina riznozhanrovi various styles and choreographic staging «In single family «,» Nizhyn cucumbers «,» on the outskirts «,» In our village wedding «,» Ah yes girls « «Turbulent years», choreographic duet «Tango» performed by spouses Boryhinyh. One of the first choreographer began to teach the art of dance, which contributed to his participation in the scientific and methodological workshops of dance in Chernihiv, Kharkiv, m. Vladimir (Russia). As a dancer, behind which participated in Kherson ensemble of song and dance «Vesnyanka» (1965-1966 gg.), Work in Bucovina State Song and Dance Ensemble (1966-1967 biennium.) A. Boryhin trying to create different types of ensemble (duet, trio). Thus was formed a dance duo in Stock: Boryhinoyi L. and M. Marchenko, who became winners of regional competition dance 1972 Pupils couple Boryhinyh, Pronina T., M. Marchenko, M. Lyapina continue development choreography genres: classical, folk, dance. Thanks to the efforts of its student G. Tymoshenko in 1980 created dance ensemble «Rhythm», and in 1994 – open First Choreographic School in Chernihiv. In the creative biography exemplary ensemble dance «Rhythm», performances at the Festival culture camp «Artek» (1991), participated in the television show «440 Hz», «Our music club», «B Visiting Cinderella «at the Central channel in Moscow (1992), the shooting of» Fant-Lotto Hope «on UT-1 in Kyiv (1993), participated in the Presidential concert at the National Opera House, Independence Square in Kiev (1995). In 1988 in the auditorium of the NDU them. Gogol an initiative Tymoshenko G. dance festival «Spring Fantasy» with dance couples from the Ukraine, Romania, Bulgaria, Macedonia, Russia and Belarus. «Rhythm» participated in the International tour to Italy (1997), Poland and Turkey (1998) Hungary (2002, 2003) and Serbia (2004), which shows the creativity of the team. Exactly it led to the discovery in 1994 choreographic school, because, according to G. Timoshenko, «Rhythm» could not accommodate all those wishing to engage in ballroom dancing. Together with their parents - the main the driving force behind the school - Galina L. created the material base, formed Pedagogical staff of the school. Today at the choreographic school conducted regional scientific-practical conference on ways to nurture creative personality in the initial specialized artistic institution. Activities Nizhyn amateur artists and professionals promotes creative traditions of the city, among which the holding (from 1990 annually) with the participation of musicians Nizhyn Protection fairs, city festivals of song creation «Heritage», «Student Spring» «Session», «Nijinsky Stars»; from 2002 - Ukrainian junior vocal competition, choral and instrumental performance; excellence; part in the regional festival «Friendship» in village. Sinkivka to cross the border of Ukraine, Russia and Belarus. A powerful factor in the development of art in the commonplace became organized in 2007 in Nezhine International Festival tse accordion music «Siver Spring» by leading artists from Ukraine and Russia. At the turn of the century became involved in traditional art and international Ukraine-festivals choir «lamps» in the choral contest-festival them. Brahms in. Vernyherode Germany (1999, 2001, 2007); children’s choir exemplary «Glow» - Festival of «Artek stars» Artek in the Crimea (2002, 2004, 2006); Dance «Nizhyn» NUKiM them. Zankovetska - in Ukrainian festyvali- folk dance contest them. Virsky P. (2002, 2003, 2007). Thus, the activities of amateur groups Nizhyn in the beginning of XXI century. Is bright page of cultural and artistic life of Nezhin. The city has favorable conditions for manifestation of social and communicative functions of artistic groups and individual artists. Best performances causing soul catharsis in the viewer, listener (recipient), generating a sense of pride for their culture and its creators, involvement in the creation of local history. Amateur art of music and dance performances educational institutions and cultural Nizhyn a personal and social value. The art of each of them serves as a means of music and aesthetic tastes of the participants and spectators. Display of content and creative, not static formal attitude to a common cause increases sociocultural phenomenon of amateur art – forms free choice of activities due to the need of artistic expression. Versatile scenically-performing activities of artists, musicians (singers, choristers, instrumentalists) dancers is an important factor in shaping the spiritual values of the individual. Creativity everyone According locally distinctive artistic medium that acquires social significance, stores provincial Nezhin as formed by centuries of socio-cultural locus, famous in history nizhyntsiv outstanding creativity, Zankovetska theater actress, professor class pipe T. Dokshytsera, father and son, respectively choral conductor Theodore and flute professor Andrew Protsenko, founder Nizhyn M. Brovchenko vocal school. Culture-activity soloists groups, individual artists caused the phenomenon Nizhyn musicians who harmonized cultural and artistic life of the city’s own performing creativity. Their participation in governmental concerts and international competitions, festivals, Days of Ukrainian culture abroad suggests that the credibility of Nizhyn as socio- cultural locus Ukraine in the overall dynamics of the national art and culture of the state.

References 1. V. Kuzyk Leo Revutsky / V. Kuzyk. - K - 2009 - 83 p. 2. Szymanski PI Musical Life Volyn / PI Szymanski. - Lutsk, 1999. - 214 p. 3. Dychko LV High Art «lamps» / LA // Dychko Mother School. - 2000. - August. 4. Kavunnyk OA Nizhyn Musicians: Music-regional owner / OA Kavunnyk. - Nizhyn: Milanik. - 2008. - 188 p.

Summary Considered concert and performing activities of different genres of creative teams, individuals Nizhyn contemporary artists that serve the development of the city as a socio-cultural locus in Ukraine on outside the state. Keywords: regional research Nizhyn, socio-cultural locus Ukraine, Music life amateur kulturotvorchist.

Summary Kavunnyk O. Creativity artists of Nizhyn as socio-cultural locus of Ukraine on the verge of century Considered concert and performing activities of different genres of creative groups and individual performers of contemporary Nizhyn, serving the development of the city as a cultural socio-locus in Ukraine outside the state. Research regional aspects of musical culture is one of the priorities of Ukrainian contemporary musicology. They contribute to understanding the system of national musical heritage, showing its diversity and integrity versus fragmentation typical of Soviet times in the disclosure forms of musical life in large and small cities, towns Ukraine. Working semantic foundations of spiritual kinship artistic activities in the context of national mentality features form the foundations of the scientific concept of regional studies in the form of social and historical existence regions of the state, according to the article, referring to the work of a number of contemporary scientists. Posted description of the origins of artistic life Nizhyn, stressing that the important role played by the Cossack music shop that existed in the eighteenth century. His music-violinists, piper, cymbalists, singers, choristers served family celebration (birthday, christening, wedding) performed musical and theatrical performances, acted in the general assembly the community Nezhin. Forms chamber music house that existed in the second half of the nineteenth century musical family F. Protsenko, A. Dokshytsera, where he also played piano Verzhykivskyy B., C. Vilkonskyy cellist, violinist J. Moskvychov, stepped creation of instrumental, vocal and choral, musical -teatralnyh principles of cultural traditions that have become leading participants of amateur musical groups of the city over the next decades of the twentieth century. Their work was an important component in the musical life of the city. To a large extent this served as a cultural and educational policy Nizhyn schools. It was there concentrated artistic potential of experienced teachers-musicians and students – lovers of art. Evidence of the importance of acting in a beautiful ancient musical amateur groups is a list of prestigious international and regional competitions and festivals of the late XX – early XXI century, which took part in Nizhyn musicians. Thus, in the 1960s. This is – the World Festival of Youth and Students in Moscow (1961), in the 1970-1980’s – Kyiv teleturnir «Solar clarinets». Starting in the 1990s. Nizhyn artists have participated in numerous musical projects, organized not only in major cultural centers of Ukraine (Kyiv, Odesa, Lviv, Ternopil), but also in certain centers of artistic life in the world – Germany, Poland, Russia, Czech Republic, France and others. Music visit cards old Nizhyn, since the 1990-s. Were kids exemplary chorus «Glow» music school and youth university choir «lamps», brass band and folk-stage group «People’s fountain of «school of culture and arts», folklore- ethnographic instrumental ensemble «Nizhynsky music» folk ensemble «Red Cranberry» choir veterans of war and labor in the city’s House of Culture. Currently active participants musical life Nezhine are: – Choirs children «Glow» and theater songs «Vivat» music school; student choir «lamps» NDU them. Gogol; Choir of war and labor veterans city House of culture; church choir «Resurrection» Nijinsky Cathedral of All Saints of the Kiev Patriarchate; – Folk group: national scenic folklore group «People’s Well» NUKiM them. Zankovetska, ensemble of folk song «Red Cranberry» student folklore ensemble «Kalynonka»; – Dance groups: «Woodland rainbow» Nizhyn House of Culture, a youth ensemble dance «Rhythm», a children’s dance group «Flowers Ukraine» student dance «Nizhyn», children’s ensemble «Victoria». The reference to the creative and biographical data of these groups demonstrates a culture-role in the functioning of every musical environment Nizhyn at the turn of the century. Amateur folk-stage band «fountain of People» was created in 1981 on the basis NUKiM them. Zankovetska. The article analyzes the work of individual artists and artistic groups. Key words: regional research Nizhyn, socio-cultural locus Ukraine, musical life, amateur creativity culturality, tours, leading artistic groups, children’s art, national folklore.

Abstract E.A. Kavunnyk Creativity deyateley art Nezhyna As socio-cultural locus Ukraine border services stoletyy Rassmotrena concert yspolnytelskaya Activities tvorcheskyh collectives, otdelnыh Artists sovremennoho Nezhyna, city development kotorыe sluzhat As socio-cultural locus in Ukraine the boundaries of the state. Keywords: rehyonalnoe Study, Nezhyn, kulturnыy socio-locus Ukraine, muzыkalnaya life, amatorskoe kulturotvorchestva. Received 11/11/2014 SECTION II. THEORETIC ARTS ASPECTS UKRAINIAN CULTURE

UDC 008: 001 O.V. Yakovlev

CULTURAL DEVELOPMENT MODEL SYNERGISTIC UKRAINE IN THE AGE OF GLOBALIZATION

At the turn of the millennium in the life of the world occupy the central challenges of globalization. The term «globalization» was used by American scientist T. Levitt (1983) in the economic the context of the merger of markets and services transnational companies. Scientific substantiation term «Globalization» was in the writings of the American sociologist George. McLean and further development – in quests British sociologist R. Robertson [13], which introduced the concept of «glocalization» to determine processes, opposing globalization, namely the preservation and strengthening of regional (ethnic cultural) and local differences partykulyaryzatsiya heterohenizatsiya and socio-cultural continuum. Along with the term «globalization» and «glocalization» in the context of not only the economy but also identify the political, social and civic components of the integration process, the scientists introduced concept mondializatsiyi (mondialisation), which, according to Derrida [4] corresponds to the value orientation world society. According appeared another concept - «hybridization» which means cooperation and mutual enrichment of cultures and the emergence of third crops in the local impairment [2]. Thus, the term «globalization» emerged in purely economic and political context, transforming enveloped all spheres of social and cultural life of humanity has become universal value. A. Toffler believed that globalization represents a change of the communicative architectonics - the structure of space and time human communication, «the formation of an entirely new type of public coordinate cultural relations and «society» third wave «[8]. Socio-economic and politico-cultural transformations of the modern world require overcome old stereotypes and develop a new theoretical framework and create advanced scientific concepts. Despite the fact that in a globalized mankind faced many different challenges scale with them there, according to eminent scientists of the twentieth century. (Toffler, D. Meadows) the most significant: limited resources, overpopulation, violation of ecological balance, internationalization and integration of economy, politics, science, culture, education, scientific and technical progress, global computerization and informatization. These problems can be conditionally divided a few main areas under their essence and nature of the humanitarian impact. Ukrainian scientist S. Sokolenko [6; 41] considers that the first group should include problem social, international economic relations, market transformation in global, national and sectoral levels. The second related to public software and modern human adaptation to the conditions of the social environment era of globalization. The third direction are global problems of interaction between nature, society and man, sustainable development of natural resources of the lithosphere, atmosphere, ionosphere, and oceans space, that is, in the terminology of Vernadsky - the problems of the noosphere. Reproduced distribution trends has conditional, since global contradictions are interconnected. In C. Sokolenko concept draws its focus on the humanitarian aspect of the theory problems globalization neolohichne its emphasis on meeting the cultural needs of the individual. It is important to note in this context and worldview R. Robertson: «Globalization relates to compression (compression) world and the intensification of consciousness of the world as a single the whole: a specific global interdependence and global awareness of the whole of the twentieth century. «[13]. The essence of the studied phenomenon, by M. Waters [9], is the globalization of cultural exchanges, which requires the use of cultural approaches to the study of modern multidimensional phenomenon reality. The growth of cultural dependencies in a globalized world marked also in E. Hidensa works [3]. Putting different concepts of the term «globalization» author of the article makes the analysis interpretation of the modern science of this phenomenon and the definition of national development paths Culture of Ukraine in the era of globalization, what is the purpose of intelligence. The discrepancy in the estimates of the phenomenon of globalization is due to the complexity and multidimensionality notion that has economic, political. communicative, social and cultural contexts. Each of researchers focuses on a certain direction while «globalization is not a process, a comprehensive set of processes. These processes are contradictory and even kontfrontatsiyno; a process unequal development that both divides and coordinates promotes cultural … dependencies in a globalized world «[3; 56]. Particular influence globalization processes have on cultural development: strengthening interactions cultures inthe information society, transnational ethnic dialogue, increase scale cultural industries as new information and telecommunication technologies turned on infrastructure in the past years panacea cultural and scientific development. This means that in the globalized information system became a new intelligence ownership, based on computer scientific information and the possibility of using new concepts of cultural studies. Science cultural approach to the study of these phenomena requires a balanced complex interdisciplinary analysis of contemporary cultural processes of integration in the paradigm of synergy that considering the result of self convergence and integration of the various elements together. This way in the contemporary cultural integration is defined as «the process of global convergence national cultures and values, strengthening cultural, communication, civilizational ties, as a result of which the achievements of science and art, new forms of social and political activity quickly distributed and absorbed in the modern world, forming its integrity «[10; 173]. However and the opposite process occurs when the loss of cultural sovereignty of causes strengthening etnorehionalnyh components of national cultures, which, according to Russian scientist Vladimir Malakhov, «leads to the destruction of national cultures and their disintegration into ethnic and group components» [5; 91]. We believe that at a certain cultural specially organized architectonics society can not just avoid the negative consequences of globalization, but also to achieve national progress. Based on these positions, urgency is the development of theoretical and practical research foundations problems synergetic regional identities and determine certain Cultural strategies aimed at developing new cultural integrity continuum united Ukraine. In a globalized ethnic culture they have created and the only general-purpose human Culture is a set of specific forms of human activity and resources generated through dialogue of cultures in the global, national, regional, group and individual levels. Availability of universal bases in the culture of certain ethnic groups provides opportunities to use principles and laws of synergy in the integration of different ethnic cultures. «The presence of elements unified human culture in every ethnic culture - is the real basis for dialogue and perhaps - next inter-cultural integration, which always helps enrich spiritual areas of society «[7; 89]. In real operation of two trends of ethnic cultures self ethno-cultural development and intercultural integration - «the ideal is ekstraversyvnist and commitment, openness interacting cultures, open, broad stream of borrowing between them are not … leading to substantial transformation matrices major cultural interacting parties. High the degree of complementarity with the counterparty is balanced equally active the orientation of each culture to preserve its foundations «[7; 69]. The analysis of modern scientific interpretations of the concept of «globalization» and related Terms in identifying universal impact of globalization on development the international community allowed to offer scientifically based holistic concept «synerhetyzm- regionalism «,» synergy regional identities’ multi-ethnic cultural dialogue, laid we have the basis for development of a strategy of national culture united Ukraine XXI century. [12]. Synergetic paradigm methodological framework is integrated holistic process analysis dialectics regional identities and integration of socio-cultural space of modern Ukraine. Synergy can be used to explain human cognitive processes, since targeted the disclosure universal mechanisms of self-organization and evolution of complex systems both natural and lyudomirnyh. According synergetic model of thinking in the development of scientific knowledge is self-expansion of a part as a result of self-improvement chasyn. Synergetic vision historical development of science and culture consists of representations of non linearity and cyclical nature their development, uneven rates of duty and periods of «thickening» and «dilution» of innovation [11; 250]. The task of cultural studies is to determine the synergistic pathways of socio-cultural development of regions Ukraine in a globalizing world space. Thus, in contrast to the internationalization of culture two opposite directions - globalization and regionalization [11; 76] propose the concept of synergy cultural identities Ukraine [12]. From the standpoint of synergy between modern state and of an independent Ukraine on the turn of the millennium ages and can be interpreted as a «bifurcation point» of science and culture, characterized by radical changes geopolitical, socio-cultural and scientific world and accompanied by the multiplication of scientific schools and areas witha predominance of divergent trends. This variety of approaches, concepts and interpretations during the bifurcation stimulates Search appropriate scientific knowledge, trends, structural mechanisms of coevolution regions at different stages of development, good governance nonlinear capabilities systems expedient means of topology association projects. Consequently, nonlinear synthesis methodology, based on the principles of evolution and co-evolution of complex structures is the basis of design and reorganization geopolitical space.

References 1. Bauman Z. Globalization: consequences for man and society / Z. Bauman. - Moscow: All the world, 2004. - 188 p. 2. Beck U. What KIND Globalization? / W. Beckman. - Moscow: Progress-Tradition, 2001. - 304 p. 3. Hidens E. unrestrained world: how globalization transforms our life / E. Hidens. - K.: Altepres, 2004. - 104 p. 4. Jacques Derrida Globalization, peace and kosmopolytyzm / Jacques Derrida // Cosmopolis. - № 2 (8). - M., 2004. - S. 125-140. 5. Malakhov VS Kulturnыe razlychyya and Political boundaries: natsyonalnыy, and lokalnыy hlobalnыy context / VS Malakhov // Philosophical magazine. - 2010. - № 1. - Moscow: IF RAS. 6. Sokolenko SI Globalization and the economy of Ukraine / SI Sokolenko. - K .: Logos, 1999. - 558 p. 7. Suhrobova Yu Kulturotvorchist dialogue of traditions and innovations of modern multi-ethnic Society Ukraine (Crimean experience) / Yu Suhrobova. - Simferopol, 2012. - 351 p. 8. E. Toffler Third Wave / E. Toffler. Per. s English. - Moscow: OOO «Firma Publishing House AST», 1999. - 784 p. 9. M. Waters Globalization / M. Waters // Globalization: konturы XXI century. - Moscow: INION RAS, 2004. - P. 40-67. 10. Shevelev V. Globalization / V. Shevelev // Kulturolohyya. Brief tematycheskyy dictionary. - Rostov-on-Don: Phoenix, 2001. - 192 p. 11. V. Shejko culture and civilization in the historical and cultural thought in the age of globalization Ukraine / B. Sheiko, M. Alexandrov. - K., Institute of Cultural Studies AUC, 2009. - 312 p. 12. Alexander Yakovlev Cultural dimensions synergy of regional identities in contemporary Ukraine / O. Yakovlev // Arcadia. - 2012 - 4 (35). - P. 41-43. 13. Robertson R. Globalization or Glocalisation? / R. Robertson // Globalization Critical Concepts in Sociology. Ed. By R. Robinson. - N.Y., 2003. - Vol. 3. 14. Rosenau JN The Challenges and tensions of a Globalizes World / J. Rosenau // American Studies International, Vol. XXXYIII, # 2, June 2000. - P. 9-10.

Summary Studied interrelated, but multi-vector globalization and glocalization in perspective of regional and local differences partykulyaryzatsiyi and sociocultural heterohenizatsiyi continuum. Proposed synergetic model of cultural development of Ukraine’s regions. Key words: globalization, glocalization, socio-cultural continuum, region, Synergetics

Summary Yakovlev O. Sinergistical model of cultural development of Ukraine in time of globalization Vzayemopov’yazani studied, but multi-vector globalization and glocalization from the perspective of regional and local differences partykulyaryzatsiyi heterohenizatsiyi and socio-cultural continuum. Proposed synergetic model of cultural development of Ukraine’s regions. In the context of globalization and ethnic culture they have created a single common universal human culture are a set of specific forms of human activity and means that are formed on the basis of the dialogue of cultures in the global, national, regional, group and individual levels. Availability of universal bases in the culture of certain ethnic groups provides opportunities to use the principles and laws of synergy in the integration of different ethnic cultures. The analysis of modern scientific interpretations of the concept of «globalization» and related terms in identifying universal impact of globalization on the development of the international community allowed to offer scientifically based holistic concept of «synergism-regionalism», «synergy regional identities’ multiethnic cultural dialogue», entrusted us the foundation development of a strategy of national culture Ukraine XXI century cathedral olittya. Synergetic paradigm is holistic methodological framework holistic analysis of the dialectic process of regional identity and the integration of social and cultural space of modern Ukraine. Synergy can be used to explain human cognitive processes, as focused on disclosure universal mechanisms of self-organization and evolution of complex systems both natural and lyudomirnyh. According synergetic model of thinking in the development of scientific knowledge is part of a selfexpansion as a result of self-improvement chasyn. Synergetic vision of the historical development of science and culture consists of representations of non linearity and cyclical nature of their development, uneven rates of duty and periods of «thickening» and «dilution» of innovation. The task of cultural studies is to determine the synergistic ways of socio-cultural development of Ukraine’s regions in a globalized world space. Thus, in contrast to the internationalization of culture in two opposite directions – globalization and regionalization offer the concept of synergy cultural identities Ukraine. From the standpoint of the synergy of the modern period of state building and establishment of an independent Ukraine at the turn of eras and millennia can be interpreted as a «point of bifurcation» of science and culture, characterized by radical changes geopolitical, socio-cultural and scientific world and accompanied by the multiplication of scientific schools and areas with a predominance of divergent trends. This variety of approaches, concepts and interpretations stimulates a reasonable period of bifurcation search trends of scientific knowledge, structural mechanisms of co-evolution of regions that are at different stages of development, good governance capabilities nonlinear systems by means of purposeful projects topology association. Consequently, nonlinear synthesis methodology, based on the principles of evolution and coevolution of complex structures is the basis of designing and restructuring the geopolitical space. Key words: globalization, glocalization, socio-cultural continuum, region, synergy, paradigm, model, Ukraine, modernity, national identity, a variety of approaches, national research school, cultural development.

Abstract A.V. Yakovlev Synerhetycheskaya model of cultural development of Ukraine in the era globalization Yssleduyutsya vzaymosvyazanыe, but raznovektornыe processes of globalization and in hlokalyzatsyy rehyonalnыh angles and lokalnыh razlychyy, partykulyaryzatsyy and heterohenyzatsyy sotsyokulturnoho continuum. Keywords: Globalization, hlokalyzatsyya, sotsyokulturnыy continuum region, Synergetics. Received 05/11/2014 UDC 7.37 Y.L. Afanasyev

ARTS EDUCATION AND CULTURAL PRACTICE: ACHIEVEMENTS AND CHALLENGES

The issue of art education system interaction and cultural practices as a matter of Art efficiency of public housing, which we are preparing, its real impact on cultural level, social consciousness, that is, the state and quality of our social life, must be constantly at the center attention of theoreticians and practitioners of arts education, all of culture and arts. After all, if art through its specific carriers not affect the social processes does not form the thinking and feelings, not inspire, not inspiring, this means that it does not fulfill its social purpose. Addressing this issue and thus putting its goal is not to solve, but at least the previous coverage, we have to state that this issue is now neither a theoretical nor a journalistic discourse itself, in fact, is not considered. And even seems that here problem. And whether it really is? Indeed, officials of the culture and arts Us regularly claim that everything in perfect order: our artists (musicians, dancers) as before, albeit rarely, regularly receive awards at international competitions; Network theaters museums, galleries and concert organizations working in normal mode, or restored renewed cultural monuments, new cultural objects, even such majestic as «Art arsenal.» And in the field of art education, as we say, there are also positive trends. In particular, with regard to network primary specialized art schools the way Bureau report to the Board of Directors of most schools, after a dramatic collapse in the mid-90s the last century, the contingent of students of these schools is growing and in 2013 reached 345,000. Although this figure is not particularly impressive. It is only 8% of students in Ukraine. But in the field of professional art education in the past decade there have been spectacular changes. However, primarily quantitative. During this time the number of schools that have made possible get higher art education, or at least such a diploma of education, increased at times. Now in each area are such institutions, and not only thanks to the low cost of these places in universities, but also so called contract, the said education can get almost everyone who so desires. So the number of certified artists every year. But this amount goes to quality, or led a quantitative amplification art body to increase the influence of art social life? Was thinkers our artists, etc. conscience of the nation? The answer to our look obvious. But it is better to back it, including such faktmy. As you know, since 2002 the magazine «Reporter» in the annual project Top 100 called the 100 most influential people of Ukraine. Potsikavymos how and by whom are these acres our artists. Take for example the Top 100 for 2009 and 2012. (various presidential different flight forces in power). Thus, in 2009 this list got six artists. A. It Violin (46 place) B. Stupka (64), K. Muratova (69), S. Vakarchuk (77), I. Chychkan (80) and the band «Boombox». Speaking positive cultural impact of these personalities in the society, then we can say about this except for Silvestrovycha for Bogdan. And the role it has always been significant and he kept them convincingly. Of course, Kira Muratova - a master. But who today, in addition to narrow specialist, knows her work of recent years? If so, and the impact is not the question. I. Chychkan - vynahidnyh «Shyzoartu» (the name of himself eloquently testifies), fortunately, too unfamiliar the general. Violin and vice versa Vakarchuk familiar to the public, even popular, especially among youth. But what is the quality of their impact on young people. Probably not the best influence for the band «Boombox». But the Top 100 2012 year. Here again we meet O. violin (66), S. Vakarchuk (79) K. Muratova (99). And there was Vladimir Zelensky - really talented person; his work, of course, must demand a certain resonance, although, of course, are very boundaries of the genre in which it operates, driven it is not in the mainstream of art and show business. Finally, A. Kryvolap that barely caught the last place in the hundreds. The artist, of course, high quality, founder of the «New Ukrainian landscape «, people thinking and truly focused on culture creation. Although this list he fell, probably not for but because it is the most expensive painter Ukraine, his live appreciate the sense abroad. But the public, we also had known it as everything requires a thorough, in-depth perception. So, all these examples show that art that does not fulfill our mission, which is to it assigned, does not, does not make, not cultivated society. And to a large extent, this is due to the fact that already in the field of art education observe deviations from the mainstream loss tsilepokladalnyh guidelines. We have already mentioned that the opening of many art universities poses a threat lower quality artistic training staff. Because, of course, in the absence of a genuine competition in these schools gets a lot of people with fairly weak preparation. Often so weak that make available material real experts on the criteria that existed previously not possible. So strap by criteria for such a system inevitably decreases and quality training of professionals falls. Some understand it and take part in this shameful, someone - indifferent, but fact is fact. The only thing that comforts, that’s what today is a worldwide practice. At one time, when the criteria for professional training, particularly in the Soviet Union and other countries socialist camp were still quite high, the famous Polish composer K. Penderecki for earnings volunteered to work in Chicago in some institution tamoshnem Education and taught composition there. Imagine his surprise, that it pozapysuvalys Students who did not have any musical training. And he had to work with them, though understood it’s profanity. Now this profanation of civilized countries has come to us. And not just our misfortune is that we often borrowed from the West is not best. We always try to rent something in its worst form, and often - haphazardly. Not noticing that the one element that borrows from them, has another side that turns the negative aspects of this element to some measures and positive. So this, like the Western liberal arts education when it can actually get everyone who wants to pay and certainly not as professionally oriented and professionally effective as our old and why we dominated for so many years in the world of art competitions, festivals and more. Our European colleagues understand this. But they deliberately go this way. We, they say, we know that many of these students will not become professional artists. And the public does not need as many artists. But they become cultural, aesthetic trained people. They will add to the cultural layer of society, which is the basis, the foundation for professional There are art. And the West is today both quantitatively and qualitatively superior public that has been supporting demand art on a high level. And all that European civilization from antiquity to the present constantly took care of the problems of education in general and aesthetic, art in particular. Even history Aesthetic (as a philosophical) opinion in Europe is organically linked with the history of aesthetic education [3] and is well known modern domestic experts, the theoretical and practical experience studied and described in our scientific and educational literature [2; 4; 5]. And in our the country, especially in the twentieth century was much done in this direction. In particular, in Kiev started the work of prominent figures of art education and education Leopoldovich Boleslav Yavorsky. Not coincidentally with the same enthusiasm as he was involved in building a professional art education, particularly in the Kiev Conservatory, and musical and educational activities in the Kyiv folk Conservatory experience of which moved to Moscow [1; 6]. Subsequently, the USSR was developed pretty clear system of cultural work, in which the importance attached to it artistic and aesthetic development of the general population. A lot has been done and for its practical implementation. Yet this system is not earned, and later was actually destroyed. The reason for this the phenomenon was misunderstood, especially by our body for professional artistic value of this component in the system of artistic culture in general. Although this system is guilty of professional artistic education, which mainly teach the craft as a set of technical skills, but do not teach the essence of art activities not form a professional artist as self kulturotvortsya. Instead them Soviet times impose communist ideology, and now - with equal zeal anticommunist. These same mostly interested only in personal success in a turbulent applause and high fees. But then success is pomenshuvalos, as well as fees. The fact that the artistic culture - a system, and as every possible system, it works only when all of its structural elements are functioning smoothly, one goal. And her goal – culture, especially the culture of public relations, monitoring, correction, harmonization. But within art culture should also profile their culture: the culture, in fact, art production, culture, art communications, storage and distribution of art products and that is extremely important culture perception of art as artistic and aesthetic education as a set of competencies that can adequately perceive works of different levels complexity, as the need for having a cultural content. Art Education as a system of professional training of the artist to culture- Labor and artistic education as a system of training the public adequate culturality oriented perception of works of art - is, figuratively speaking, two wings art system culture. Moreover, the absence of any of them feature eliminates another. Not one bird fly wing, or with some stumps instead of wings. Today both wings of our artistic culture not proper form. Not least, it is also a fact that both these wings do not contribute of each other. Yes, culture is not focused, culturally disoriented professional body art offers public art, cultural discoveries, does not set itself and society serious questions and seek answers to them. As the even twenty years ago, one of the famous Ukrainian musicologist, professor of the Kiev Conservatory in response to my question, he commends the achievements of modern Ukrainian composers: «And what? Write dobrotnuyu Music «. Behold then it - «High-quality music.» How accurately and certainly with ironic undertones said. Mighty may be produced leather shoes with her, well, when is decent clothing, furniture, building materials and so on. High-quality music that’s not good. Music, like all art, must be talented and the most perfect in its culture-steering action, not solid, as a work of craftsman. With then, when I hear a professionally written music but emptiness filled with content, I say: «High-quality music. « Often such music just experiencing its premiere. This is no less true of works fine arts, theater and other arts. To a large extent it happens that, in turn, society does not set artists serious problems. And if someone even today and create something really deep and strong, is not a fact, it will be adequately perceived and generally seen. For generations we have lost, if not more, thoughtful, deeply feeling the public. Lost because the public has long been no raising or brings bad. As a result: a multimillion Kiev, in fact, in one hall regularly sounds symphonic music, high- quality exhibitions of fine art almost never happens, and theater halls responsive audience is not naysumnivnishi replica. Artistic shocks especially from domestic producers, not long ago was caused. For public mostly craves only laugh. So the cultural, aesthetic simplicity turns into the socio-political and becomes threat to society itself. Community degrades with art, but art - along with society. However, to break this vicious circle possible. And the remedy for this is known. This artistic and aesthetic education society. Thus, in countries that respectfully call civilized, this form of work population is constant. For example, in modern Germany 85% of the population covered by certain other forms of artistic and aesthetic education. There were once and we attempt to build a coherent system of artistic and aesthetic education as they said, the masses! Moreover, at the state level. At the root of such a system devotees were such a cultural affairs, as already mentioned B. Jaworski, Lunacharsky (also from Kiev), D. Kabalyevskyy. Virtually all schools and extracurricular specially created children’s art schools were open circles of different art forms, working children music and art schools, which can be for adults and evening, and in every employment the team always had to operate amateur groups. In Philharmonic before performing many works of classical repertoire performed expert that natsilyuvav perception, given the direction of understanding the works performed. Lecture-Concert is widely applied form of such a cultural work with the audience. Massive, specificity such work required and appropriate training of staff - staff that could carry professional artistic and aesthetic culture of the masses. The idea was not so much trained artists, and, so to speak, bringing masters art to the masses through artistic and aesthetic training and education. Of course, such staff had to satisfy, especially school. For this nationwide at the college and teacher training schools began to open departments (Department) to prepare teachers music, fine arts, sometimes with specialization in choreography, artistic culture and so on. And for staffing wide network of various cultural centers, clubs and creative artistic circles in enterprises and institutions across the country were open cultural institutes, which were prepared with cultural experts, above all, artistic aesthetic development of society. The idea was fine. But he was not destined to happen. No, these faculties and institutes will not dilys. They even became even more departments popereimenovuvalys in institutions, institutions - in universities or academies. They not only pereymenuvalys. They are reborn. Or rather, they were taken initially reluctant to perform His proposed function - bring the so-called kultarmiytsiv, that kultproosvityan. Frames these universities come from conservatories, art and theater institutions could not and would not cook none other than such as they are, that is - artists. And the students also wanted to become an artist, and not where some teachers, managers or amateur art groups. And if artists failed to break out, and still had to work with amateur, then the artist-loser in If so strongly tried to bring his amateur team to the level of professional groups corresponding genre. How is this done? Of course that - through involvement of the professionals of the same fellow teachers and students of art schools. So they got all sorts honors there, some authority, word of honor. And the initiative itself ceased to be own amateur and therefore ceased to perform their cultural function. And the fact that so-called the masses have been far from art, and remained so, one does not seem interested. In addition, and art, which supposedly offered to the public numerous amateur groups, too, was so-so. Basically it was a kind of folk or folk-pop. And all this satisfied. The administration, for example, in Soviet times, it is satisfied that the plan and «in performances performed «and the ideology which then required the art of partisanship, truthfulness and nationalities was also bad, because under the ethnic group then understood, usually national color, and if nationality, so with all honesty allegedly hrazd, after all, where the people there and the truth. Well, how come independence, it replaced the national color everything. And these national breed colorful ensembles, like mushrooms after rain, and sing about nettles and bacon, about deer stag, nebrytyh, unshaven. A «People hawala», because it is more «Hamath» in most can not - not taught him other schools and graduates of cultural institutions (academies, universities) Culture, graduates relevant departments and faculties of the college. For these graduates themselves in Most of them, does not have native culture of a high quality, they are not even adequately consumers. For in institutions where they studied, not always dominated by the cult of high art, and sometimes generally cultivated aesthetic simplicity, if not outright bad taste. After all these institutions have been actively disposed, in their view, demeaning cook function prosvityan communicators, media art culture and indulgent serenity relevant ministries translate direction of specialists in industries «Education education «and» Culture «in the field» Art «. So they allegedly been denied as they seemed professional inferiority and de jure were on a par with traditional art universities. Certainly, it is not only not strengthened our professional body art, but also to a large extent devalued art education at all. Oh, and as for working with the rise of art culture of the public in general, this, therefore, is simply not mentioned. And the result was not slow. Our cultural and artistic practice becoming more culturally impotent. It does not fertilizes our culture generating social content, offers ideals that lead people to sustainable development. Why do we do now actively soloists country national pianists, violinists, Cello, Accordion Bayan, Bandura eventually? Why not lined up on stage Exhibition of our masters of fine art? No demand, no public order art and culture of high professional quality. At the same time in Europe, to which we allegedly aspire, in Bavaria alone, almost forty professional symphony orchestras. And they regularly appear and apparently have demand listening. In Ufitsu, the Louvre, the Prado always long queues. Every American University Symphony Orchestra is an amateur. And by the way, is now actively used in the US forms and methods of cultural and educational works that were initiated but never implemented in sufficiently in Soviet times. On the eve of the New 2014 Berlin concert was held on this occasion. No folk groups or German rock stars and pop culture, of course, was not. There were symphony works by Richard Strauss, Mahler and Prokofiev. The hall was attended by Merkel and other leaders Germany. Tastes of our leadership and, unfortunately, the vast majority of society we know. And one of the reasons for this sad phenomenon is that our art education is not aimed at formation of artist-creator. Rather, the preparation of such a craftsman of art, it is even less focused on the preparation of devotees artistic and aesthetic education of society, making all our cultural and artistic practice cultured, and therefore, little cunning. That such trends, in fact, affects our cultural and artistic life. References 1. Afanasyev YL musician Training: Lessons Boleslaw Jaworski / YL Afanasyev, AF Jura. - K.: DAKKKiM, 2009. - 128 p. 2. Bitayev VA Aesthetic education and humanization of the person: Author. Thesis. ... Dr. Philosophy. Science / VA Bitayev. - K., 2004. - 37 p. 3. Ovsyannikov MV History aesthetic thoughts / MV Ovsyannikov. - M., 1978. - 352 p. 4. Oleksik AM Music education: teach. guidances. / OM Oleksyuk. - K.: KNUKiM, 2006. - 188 pp. 5. Ulanova SI Musical art of the nineteenth century Austria and Germany: monograph / S. Ulanova. - K.: DAKKKiM, 2002. - 252 p. 6. Yavorskyy BL Memoirs, articles, correspondence. T. 1 / BL Yavorskyy. - M., 1972. - 711 p.

Summary Features and trends of the national art education and cultural and artistic practices considered in the context of system integrity culture. Highlights the negative consequences of a breach in the system of interaction of culture. We have objective need for system integrity arts education and cultural practices. Tags: art education, cultural and artistic practice, artistic culture, system integrity.

Summary Afanasyev U. Artistic education and cultural and art practice: achievements and problems Features and trends of the national art education and cultural and artistic practices are discussed in an article in the context of system integrity culture. Highlights the negative consequences of a breach in the system of interaction of culture. Emphasized on the gradual weakened and eventually violation nullification elementary art education system in the country, whose staff would be able to teach understand art and cultural practices in general. The attention the need for training in a specialized unit of education, which could be an important chain in terms of understanding the basics of art education, as these are the basis and determining factor in the future of public education. And then - changes in relation to cultural practices in general. The author analyzes the system of art education the previous day just as the system which is largely based on professional selection, the ability to master one or another profession based on relevant knowledge and skills, made it possible to teach the general public and make it more educated and culturally literate. The destruction of this system in the next period, which fully has not been implemented by a number of organizational and technical factors gradually nullifies today all attempts of the state to have a spiritually mature and artistically literate population, which have been characterized naobhidni quality – patriotism, attitude to work, to society. Solving the problem the author sees a change in cultural policy, cultural definition of its priorities, and therefore proposes to return to the competitive selection of students in educational institutions of different levels of accreditation, which will allow, on the one hand, to significantly reduce the enormous number of institutions, as only issue diploma of appropriate education, on the other, to form or continue the practice of national art schools that have the potential to prepare these frames. Therefore, changes in the cultural policy, changes in its priorities, will, in the opinion of the author, and significant changes in art education and education of the vast majority of the population in the future. The article presents a lot of statistics about the quality of training of national personnel and their rating system impact on modern life. Materials paper are controversial nature, but there are many rational proposals, the implementation of which will not only significantly change the current system of art education, but in general the spiritual climate of the Ukrainian society. Moreover, many proposals can be used as a specific algorithm for solving identical problems in other spheres of social life. We have an objective need for system integrity arts education and cultural practices. Key words: art education, cultural and artistic practice, artistic culture, system integrity, cultural and educational activities, art, genre structure, staffing, national cultural policy, managers, foreign experience inart education.

Abstract Afanasyev Y.L. Hudozhestvennoe hudozhestvennaya Education and Practice: achievements and problems Features and artistic trends of development of National Education and Cultural hudozhestvennoy rassmatryvayutsya practices in the context systemnoy integrity hudozhestvennoy culture. Negative consequences Osveschayutsya violations sostavnыh interaction system hudozhestvennoy culture. Dokazыvaetsya obъektyvnaya Need systemnoy integrity artistic education and cultural hudozhestvennoy practice. Keywords: hudozhestvennoe Education, Culture hudozhestvennaya, systemnaya integrity, cultural hudozhestvennaya practice. Received 11/14/2014 UDC 780.616.432 78.071.1 + Y. Korchynska

META PIANO MUSIC AND INDIVIDUAL STYLE OF THE COMPOSER-PIANIST

Piano art, like many other types of work, peculiar to a certain extent intertextuality. It is often a major aplikaturnyh formulas texture common solutions. Shire can only speak of metatext «Piano score» provides links in the evolution of musical language heritage of outstanding Composers at genres, techniques, thinking in the nature Piano embodiment obrazno- semantic text elements. Special effects metatext experienced piano music in the works of artists who there were outstanding composer talent and gifts of the artist-performer. This diversity was inherent creativity Rachmaninov - one of the greatest kompozytoriv- pianists of all time. His legacy was the piano while generalization traditions and wonderful piano sample twentieth century. It is interesting to look at the work of the composer in the context of pianism. Study Individual conversion traditions and its own findings stylevyh Rachmaninov allows to better understand the features of the composer andpiano- performing style in general. All elements of a certain musical style are interrelated and conditioned first thinking artist. For individual creative features significantly affects composer cultural environment era, major music and in general artistic direction. The problem Rachmaninov relationships with the main directions of art limits the nineteenth and twentieth centuries. Researchers began to pay close attention only in recent decades. Traditionally it was thought that composer was «spokesman romantic tendencies bearer wills classical music art of the nineteenth century. People’s Principles of the Russian national school of composition «[7]. In this generally accepted theoretical concept emphasizes creativity Rachmaninov usually national roots of his style: a remarkable church chant Beauty sounding bell extended Peasant Song, the Russian landscape heritage of Tchaikovsky, Borodin, Mussorgsky. The deep spiritual connection to the essence of this music was a special combination of lyrical and Epic types of expression, installation psychology (the initiated movements of human reproduction soul against the background quite correct external behavior of a character), the general feeling vulnerability of human life and society. Deeper study by researchers features Rachmaninov piano music reveals Interesting links elements of its style of piano art of three centuries: the eighteenth, nineteenth and twentieth. So, C. Vartanov [2] indicates the origin of many impressive solutions from classical (particularly in passages based on figures hrupeto). Based on the compositional and textual components next concert artist, B. Hnylov [5] proved that deliberately accumulated during installation creative originality, outstanding its composer in this higher degree of independent and national in spirit at work intuitive subconscious level was in the gravitational field of the third concert of Beethoven. Author not only reveals the similarity motives, tonal constructions, features form, harmony, and «Transformation» of Rachmaninov, like Beethoven, with a characteristic set of topics of general heroic intonations and rhythms on intonation building, which is second-willed discipline mystery and enigma. Thus, the researcher stressed that it is necessary to pay tribute for the remarkable its accuracy and insight the mention of «Beethoven’s bone», «Beethoven’s passion» «Volitional knight moves» in asaf’yevskiy characteristics of music by Rachmaninov. B. Bobrowski [1] sees the origins of its internal sustainability Beauty prolonged immersion in one According emotion-riddled reverence to the folk wisdom of old tunes restrained. At the same time long stay there, the desire to «keep emotion», admiration fonizmom harmonies indicates common features (including harmonic language) outstanding music composer and old masters. Thus, in the works of Bach noticeable is a tendency to long stay in a state of mind, within the unified shaped areas without sudden emotional shifts. One of the original background music systems thinking Rachmaninov – deep emotion, desire to stay in the vibrant music of disaster mental unrest. Ago style composer invariably inherent emotional openness, sensuality, inflammatory statements, ocean passion, sincerity experience. Renaissance music in the romantic Rachmaninov traditions promoted deep conditioning method composer aesthetics of Romanticism. This revival embodied, for example, in an address to the traditional romantic music genres that Rachmaninov enriched in the figurative sense, complexity of musical language and texture. Communion romantic approaches was also in the interpretation of the creative biography, a portrait painter in «Registered» variations composer (Variations on a Theme of Chopin, Variations on a Theme by Corelli, Rhapsody on Theme of Paganini). Like the Romantics, Rachmaninov confer hero-artist features of other geniuses that could belong to different eras and different kinds of art, connects them to those portraits traits, those twists of fate that were inherent and experienced fantasy created artist depicted characters. The «nominal» cycles of Rachmaninov actualized as next romantic principle biographical method - veiled autobiographical. Composer identified the author and his hero: hudozhnyk- «biographer» artist endowed «depicted» features characteristic of his own spiritual nature. The result is a series of characters sibling, and originality Rachmaninov implementation of this duality was different both in Tradition leading incarnation portrayed artist and playing style traits of many close to him composer individuals [6]. Yes, indeed, «the spokesman romantic tendencies carrier wills classical music Art ... «Rachmaninov did not try to be an experimenter garde. He never sought at any price novelty musical language. His music sings eternal values, eternal life, the beauty of mother nature with a hint of nostalgia reflects soulful lyrical and romantic ideal. She was balancing an island of harmony and true beauty during the turn of the century - the nineteenth and twentieth. That period went down in history as the rapid rise of creative activity. The range of stylistic and aesthetic characteristics of the era shaped the concept of «art nouveau». He took Rubizhne position – was successor of late Romanticism and at the same time led to their aesthetic antipodes: constructivism and avant-garde. Setting profound stylistic connections allowed Ivan Skvortsov [8] justify the absolute absorption in Rachmaninov sound world of his era, the era first limits the nineteenth and twentieth centuries. Very individual style of the composer demonstrates the uniqueness expression of the artist, but absolutely closed «tight», he also was. In the depths of the conditions are ripe Nouveau radical changes in the artistic culture of the twentieth century. The opposite combination of two different aspirations - to assimilate the language and stylistic innovation models of previous eras - these two elements were the source of modern culture of the twentieth century, based, on the one hand, polylogue with other eras, other - experiments in the field of music language. Modern - final culture of the past, yet it originate new features. Summing up the past century, he outlined the prospects for the future, to become a leader Modernism twentieth century. Many analogies music by Rachmaninov with modern cites in his studies already mentioned I. Skvortsova. In the works of composer widely represented one of the common ideas and Romanticism Nouveau, which is nostalgic hue and music fills the artist’s sense illusory, unreachable ideal, sadly for the last harmony. The main property Rachmaninov textures - polimelodyka - a typical mod image: shimmering, with lots of detail, full of melody charunkamy- blystkitkamy, like blue-lilac-purple smears paintings Vrubel, the only thing more often tending to statics, musical canvas. In the aspect of performing piano music of Rachmaninoff and style of modern characterized by exaggerated attention to ahohiky to the many details of articulation and tempo and dynamic diversity. In the works of composer attentive ear cunning hunter and various other styling (graphic melodyzmu, impressionistic texture elements-fonichnoho tematyzmu), pointed rhythm, even echoes of jazz. In mature and late works of artist appear notes of detachment. Rachmaninov first made a turn to the art, which in the twentieth century. polistylistyka later widely prevailed. Composer learned to see his own style as if from above, from afar. In this connection, explains G. Hanzburh [4], playing Rachmaninov had to pass ardent feelings. You must be able at the same time play «experience theater» and «theater performance.» In the composer’s human and superhuman – levels one entity experiencing. By Rachmaninov, such as Tchaikovsky, they were in conflict. In the composer’s emotions is the same experience with observation the experience of the character. Piano music of Rachmaninoff was important high point in the European musical art also zvukotvorchomu respect. And in this area we can talk about synthesis, development and programming to some extent the evolution of piano techniques. Generally piano works of the composer - extremely fertile ground for improvement pianism. At the time, S. Feinberg advised as the most Rachmaninov play his disciple B. Merzhanovu to recover form after the lost war. Piano texture composer everywhere is the nature of the immediate or dramatic, passionate feeling lyrical expression. Therefore, there is no similar established formulas. Creates dramatic improvisation variety of rhythms, sound spheres, strokes. Among the wealth of inexhaustible ingenuity turns writing classics of common approaches, particularly in use fihuratsiy requiring active finger movements. Rachmaninov proves progressive heritage piano school - the interaction of all areas of gaming machine under the leadership of fingers – to perfection. Often it texture - a perfect balance of hands- free and sensitive fingers. From predecessors composer treats and basic formula fingerings. It does not deal with them invention but find the optimal fingerings was always in the spotlight Rachmaninov - artist and teacher. According student Sergey Vasilevich, A. Zhukovskaya [3; 340], establish contact with the new work he began precisely with the selection fingerings. Choice dictated by convenience and the greatest significance in artistic terms. Rachmaninov Chopin takes over in nature using fingers because of their individual characteristics. Like the famous Polish romantic Rachmaninov uses for priority 5-tune those fingers as support outside of the hands of its loaded weight. The common approach of F. Chopin appeared in many other aspects. Mainly in the art of singing the piano. Health and naspivnist distinguish sound melodic construction that slowly unfolding, singing one tone, and the rapidly soaring, melodic impulses lyrical and epic types. «Singing» texture Chopin was largely a product of his pianism. Rachmaninov inherited and mortgaged individually implemented outstanding new romantic fonichnu the idea of piano music. The brilliant pianist, he extracted from the piano all the new colors. His pianism more weighty, dense, relevant father - weighty, dense - forms of «singing» texture. These searches were carried out not for external effect, and to transfer great power of expression. Rachmaninov was a musician large audience. His musical language is expressed with fullness and persuasiveness inherent outstanding speakers. B. More Asaf’yev marked «fresco-mighty» game Rachmaninoff. According to contemporary master recordings and analysis of his game could sometimes compared with orchestral power. In passages forte, even extraordinary strength, volume never exceeded the limit where it ends richness of the piano sound and dry starts wooden pitapat. Rachmaninov perfectly knew the extreme gradations of dynamics. In the lung, transparent, silver pianissimo or forte surprisingly full each note remained distinct, clear and precisely articulated. Strength hands of the workman impressed the audience. Without any external physical effort, as is the case in most pianists freely blocked saturated (with copper!) volume orchestra, piano really vykreshuyuchy with steel chords. Different texture «Rachmaninov score» requires the use of various techniques of the game. Some of They remind us of common manners fingers deep interaction with the keys, and to some extent inherent French master Debussy. Its content aptly conveys shaped form «fingers grow into keyboard at different depths: the leading naynasychenishi melodic line - deep into the keyboard to large tree roots level; is less deeply rooted bush, and very very close to surface - grass roots.» Notable were the influences in art of piano Liszt. The famous maxim outstanding Hungarian composer, pianist, «hands should fly more than crawl on the keys» finds Rachmaninov immediate practical application. F. Liszt usually performed expressive and octave Chords brush held high and «standing» 1st finger. This is the role of one’s fingers clearly observed in Rachmaninov Preludes c-moll or.23 [2; 39-40]. Thus, along with the sensitivity of the fingers and immerse them in the manner of keys, like something pretty elastic, vidpirne in stylevidpovidnomu of sound and appropriate to the use of techniques ensuring the provision of hands «in limbo», as though their permanent stay in the air One of the foundations of sound creativity to music by Rachmaninov - Bells embodied in piano opuses of the composer to create active, powerful, pathetically excited or Topics joyfully triumphant images. It is used rhythm- formula «great» bell that is a dynamic comparison of the lowest blows bells with others in uniform ostynatnomu rhythm. So rather characteristic of Rachmaninov piano texture is comparison of deep bass with chords figuration and the middle and upper registers. Composer skillfully uses associative appearance similar to blows bells specific nature piano - «udarnist» of the instrument. Displayed fonichna feature piano music of Rachmaninoff encourages mention leading characteristic sound of piano works by Prokofiev - «udarnist.» Although «PERCUSSION» pianism Prokofiev fed individual stylistic origins of his work, S. Richter in one of his interviews reasonably assumed that the work of these very different music giants The twentieth century has stylistic connections. In particular, a certain continuity of Prokofiev tricks piano seen in connection with the sketches, paintings Rachmaninov. The creative principle of the composer. the core of which was to mainly piano «Singing», it finds its expression in music and piano playing artist. Yet mastery outstanding century concert pianist and composer who created masterpieces for favorite tool was a real bridge (though not too noticeable at first terms) between the established traditions of piano art and innovative, Experimental search contemporaries and successors Rachmaninov.

References 1. Acting Bobrovskyy musical thinking Rahmanynova / V. Bobrovskyy // Sovetskaya Music. - 1985. - № 7. - S. 88-92. 2. Vartanov S. Hand, povynuyuschayasya intelligence / C Vartanov // Muzыkalnaya academy. - 2008. -№ 4. - P. 37-45. 3. Memoirs of Rahmanynove: in 2 t. // HTSMMK them. MI Glinka. - Ed. 4th. - M., 1973. - T. 2. - P. 340. 4. Hanzburh G. Stylevoy crisis Rahmanynova: Essence and consequences / AG // Hanzburh Muzыkalnaya academy. - 2003. - № 3. - P. 171-173. 5. Hnylov B. Two large to-mynornыh concert: Beethoven and Rahmanynov / B // Hnylov Muzыkalnaya academy. - 2005. - № 4. - P. 182-188. 6. Roschenko EG romantic in «ymennыh» variation S. Rahmanynova / EG // Roschenko Music Art and Culture, Science. Visn. Ogma them. AV Nezhdzhnovoyi. - O.: Seal, 2004. - Vyp.4. - S. 137-146. 7. Muzikalnaya Russian literature. Vol. IV. 5. Publishing Society. Ed. Mikhailov and E. Fried. - LA: Music », 1982. - P. 181-240. 8. I. Skvortsova «... If vы Prices know me, then my Diamond Music» / I. Skvortsova // Muzыkalnaya life. - 2013. - № 4. - P. 28-29.

Summary The article deals with the problem of evolution meta piano music in the aspect of development pianism. The influence of traditions and individual composers findings on the formation of identity piano seen on the example of piano works of Rachmaninoff. Keywords: piano art, intertextuality, metatext, fortepianno- performing style, evolution piano.

Summary Tarchynska Y. The metatext of the piano music and the individual style of the composer and pianist (on the example of works of Rachmaninoff) Piano art, like many other types of work, to a certain extent inherent intertextuality. It is often a major aplikaturnyh formulas, common textural solutions. Shire can only speak of metatext «piano score» provides links in the evolution of musical language heritage of outstanding composers at genres, techniques, thinking in the nature Piano implementation figurative semantic text elements. All elements of a certain musical style are interrelated and conditioned thinking first artist. For individual creative features composer significantly affects the cultural environment era, major music and in general artistic direction. The article deals with the problem of evolution meta piano music in terms of pianism. The influence of traditions and individual composers findings on the formation of piano style seen on the example of piano works of Rachmaninov, particularly emphasized the importance of fingers feeling performer in the development of piano technique. Thus, along with the sensitivity of the fingers and immerse them in the manner of keys as something of sufficiently elastic, vidpirne in stylevidpovidnomu of sound also appropriate to use methods that ensure the provision of hands «in limbo», as though their permanent stay in the air. One of the foundations zvukotvorchosti music by Rachmaninov - bell embodied in the piano opuses of the composer to create active, powerful, pathetically excited or joyful themes triumphal images. It is used rhythm-formula «great» bell, which is the lowest dynamic comparison beats bells with others, at uniform ostynatnomu rhythm. So rather characteristic of Rachmaninov piano texture mapping is a deep bass with chords figuration and the middle and upper registers. Music for the emergence of talented uses associative analogy with blows bells specific nature piano – «udarnist» of the instrument. Displayed fonichna feature piano music of Rachmaninov encouraged to mention the leading characteristic sound of piano works by Prokofiev – «udarnist». And although the «PERCUSSION» pianism Prokofiev fed individual stylistic origins of his work, S. Richter in an interview reasonably assumed that these very different creative giants of the twentieth century music has stylistic connections. In particular, a certain continuity of Prokofiev’s piano techniques seen in connection with the sketches, paintings Rachmaninov. The creative principle of the composer. which was based mostly was to the piano «sing», it finds its expression in music and piano playing artist. Still outstanding craftsmanship century concert pianist and composer who created masterpieces for the favorite tool was a real bridge (though not too noticeable at first sight) between the established traditions of piano art and innovative, experimental searches contemporaries and successors Rachmaninov. Key words: piano art, intertextuality, metatext, piano-performing style, evolution piano. Rachmaninov, Prokofiev, music interpretation, evolution, creative composer, piano works.

Abstract Torchynskaya Y.u meta fortepyannoy Music and unique style kompozytora- pyanysta (Creativity in Example C. Rahmanynova) Article posvyaschena problem fortepyannoy Instruments meta evolution in development in two main ways pyanyzma. Effect traditions and yndyvydualnыh kompozytorskyh nahodok Formation in style pyanyzma proslezhyvaetsya fortepyannoho Creativity in Example S.Rahmanynova. Keywords: art fortepyannoe, yntertekstualnost, metatext, fortepyanno- yspolnytelskyy style Evolution pyanyzma. Received 10/13/2014

UDC [070,447 78. 072] (477) O.V. Bilozerova

STRUCTURE ARGUMENT MUSIC AND CRITICAL TEXT (BASED ON REVIEWS AND YU YU EXPECTATIONS BENT)

The basic genre of music criticism is a review (from the Latin. Recensio - judgment proceedings, surveys) [2; 87]. The object of the review can be work, concert, book and t. N. It is given analysis, interpretation and evaluation of a phenomenon and contains detailed information about the proposed facility. Reviews analyticity range is quite broad: it can be similar to the abstract, and can amount to large paper. An important component of the review is Interpretation: critic expresses his understanding of the work - its content, imagery offers interpretation of the author’s intention (or - depending on the object of criticism - director’s decision, Performing treatment) [2; 87-88]. Interpretation together with an analysis of the evaluation is a prerequisite judgment. The review has a number of functions: axiological, cognitive, education and upbringing, communicative, with the dominant and defining the genre is axiological [2; 87]. Mandatory elements review the evidence and arguments. Proof - a logical operation, which substantiates the truth of any statement by any true associated with him judgments. The argument - the process of conviction of the truth of the statement recipient via Text (verbal description of the work or its implementation) and non-textual methods (appeal to the idea influential people) [3; 376]. Despite the difference of proof and argument, their structure is common. It includes three elements: thesis, argument and evidence-based thinking. Abstracts are divided: the content - the simple (one marked by the quality of the phenomena) and complex (recorded several qualities); in substance information - on factual («as is»), evaluation (evaluation, which argued below) and regulations («they should be»); the form of expression - toformulated explicitly and implicitly stated. Arguments divided: the following based on rational assertions, and - for emotional foundations; factual (focused on facts) and in value (focused on assessment and standards). Evidence meditation show the reader the link between thesis and arguments. They made in the form of induction (when the thesis is a summary statement and argument – single factor) deduction (thesis - a single factor, but the argument is generalizing statement), and traduktsiyi (relationship between thesis and argument through analogy) [3; 377]. Purpose of the article - based on the concept of musical and critical text Yu expectations [4] analyze reviews «The then» Nota «» Yu expectations and «Third attempt» J. Bentham. Objectives: 1) determine the quality and structure of the evidence and arguments considered in the Review; 2) compare existing types of theses, arguments and evidence reflection; 3) to draw conclusions about specific features elements of proof and argumentation and their relation to music and analyzed critical texts. Review Yu expectations «on it and» note «published in the publication» scribe - review », № 8, 2000. Her content - a favorable review of a new edition of «Nota». The critic notes: «However, the band was a beginner. Extraordinary. Promising. Promising «[4; 298]. Reviews thesis is complex. Analyzing magazine, the author sees it not only as an independent publication, and as a unit market music Ukraine magazines. Significantly, in my opinion, there are two last sentence review: «Today, the» Nota «one closes embrasure. In then «Nota» [4; 300]. For Information thesis essence - estimated, in the form expression information - explicit. The truth of the thesis has five arguments. The first - the author reveals the main causes of the crisis in music criticism, namely, closing music magazines, newspapers. In particular, states: «The market for music magazines in Ukraine now - no. Share Somewhere color-glazed «buzz» and noble matt «new rock ‘n’ roll.» Like a meteor - a number of exclusive photos - flashed in the sky «Music Club» - and disappeared, as if there was «[4; 298], and some books discrepancy professional standards. In accordance criticism statement: «Nydiye in poverty ambitious» Music «(Ah, still calls himself the only professional music magazine Ukraine!). Continuing agony of little interest «Teatralno- Kyiv concert. « Not seen recently and «Show Business» (although this edition of the journal – as to Kyiv on all fours) ... «[4; 298]. This argument is used epithets, metaphors, comparisons. This argument is based on rational statements (lack of money and lack of professionalism as the reason Music critics crisis) and emotional foundations («nydiye in poverty», «continues agony» etc.). He factual (it is the facts closure magazines) and value («market music magazines in Ukraine now - no «) simultaneously. The second argument is reported about a new publication, stated his name and number rooms, submitted his assessment and stated promise. Like the previous one, this argument - factual, evaluative and based on rational statements (name, number of rooms). Author said: «Any periodical should evaluate after the third number» [4; 298]. Transition the thesis made this argument through lengthy evidentiary meditation in the form of deduction, that is, using generalized statements. Namely. The first issue, according to critics, usually euphoric, festive, it «plans to dominate the reality; architectural building yet formed here - the predominance of natural materials, written by editor in chief and other editorial staff «[4; 298]. «The second issue - often inertial. Feeling prospects the wording is still very fresh; stock of ideas has not expired; Sponsors still even careful not worried – so let’s go forward! «[4; 298-299]. Regarding the third issue, then it has already put more demanding: «No derogation. No excuses. No advances. And if these conditions are not magazine stalled if it continues outlined in the previous numbers and lines are new, if sponsors did not disappear like last year’s snow - live edition «[4; 299]. In the third arguments described cover design, number of color pages the elements advertising designer names, presence stylish black and white photo, overview of audio products, ie text applied techniques. However, the author emphasizes that «note» is created per reader - so it is a priority of text. The argument is based on rational judgments (number of pages dedicated advertising, availability of photos, reviews audio products, materials about modern music) and emotional statements «(as impressive!)» [3; 299]. In the argument contained factual information and values (extremely positive assessment). Relationship between thesis and argument made using traduktsiyi: confirmation eccentricity critic edition of the analogy design vinyl disc, «Journal of the outside like a vinyl disc in the envelope, so dear to everyone who makes love and is meant for real music. Vinyl - not shyrvzhytkova not fashioned cassette and CD. He recalls the times fans-collectors, the quality and range of collections and traditions «[4; 299]. The fourth argument of the circle genre varieties publications, namely existing portraits interviews, reviews, news, whereas no essays and analyst. As in the previous argument the author uses text persuasive techniques (provides a list of available and missing genres). By its content Factual information is, by the method of presentation - rational. Noting the absence of publication thorough analytical text, the author asks: «However, where they find now – serious Analysts in music? «[4; 299]. This fact justify the fact that the tests dedicated to jazz and rock culture always prevailed journalism (with its persecution by sensations, superficial descriptive etc.), or «information» publications that important place was given to the musician’s biography, not understanding his work. As for the classics, then «training musicologists kills Academism any creative intentions; endless reproduction right truth stand in the way production their own thoughts «[4; 300]. Thus, the relationship between the thesis and argument is deductive. The fifth edition of argument reveals purpose: not only reproduce the real situation sound environment, how to form «some virtual musical space where taste preferences editor, Krištofovič W. Bush decide everything «[4; 300]. The «note» absolutely no genre of pop music outright - jazz and rock them - contemporary art academic composers and classic [3; 300]. Thus, in the fifth argument applied text persuasive techniques and based on sound factual judgments character. Priorities describing contents of the journal, the author speculates on whether this is correct configuration of contemporary music? And concludes that it is possible, arguing that, unfortunately, «The volume perspective, other dimensions of a magazine, even the best, can not create» [4; 300], which required different directions edition: specialized and popular glossy magazine, newspaper, etc., but today «Nota» closes one embrasure. Relationship between thesis and argument deductive method is through meditation of evidence. Summarizing the results of the analysis, it should be noted that. The main idea of the article described in complex thesis - the magazine «Nota» considered as an independent unit in the market of Ukraine magazine. By substance information thesis estimated, because the author approves of the new edition. By way of expression information the - explicit (clear). The truth of the thesis has five arguments. All these uses text Critic persuasive techniques, conveying their thoughts and impressions on the content and appearance publication. All arguments based on sound foundations, but in the first and third are simultaneously emotional expressions. Proving the truth of the thesis, the author uses mostly value judgments. In particular, four of the five arguments (first, second, third and fifth) combine the evidence and information values, the fourth - only factual. The relationship between the thesis and arguments in all cases carried out by means of deduction except one third argument, which uses traduktsiya. Furthermore, the rich artistic receptions - metaphors, epithets, comparisons, making it «alive», interesting and exciting. Review of «third attempt» Julia Bent («Capital News», 25 November - 1 December 2003) third opera devoted Stankovych «Fern Blossom». The premiere was timed 60 anniversary of the People’s Choir. G.Veryovka. The thesis reveals the critical opinion of the reviewer this statement that it is clear already from its first sentence: «A quarter century infused magical Potion opera «Fern Blossom» Eugene Stankovic. Drink it to the bottom while nobody dared «[1; 309]. And criticized the content of the first branch of the anniversary concert (heard in the second «Blossom ferns «). Reviews thesis is simple estimates and implicit (dispersed the text) and is grounded in four arguments. The first argument is dedicated to the history of problematic issues and life stage opera. The author observes: «Established in 1979, the opera Eugene Stankovic today already has three names: «When the Fern Blooms», «Fern Blossom» and «Kupalo» [1; 310], numerous genre labels, with whose directors are trying to understand the meaning of the opera, and, accordingly, different editorial versions. In argument by applying method comparison, noting that J. Verdi his «La Traviata» to recognize and Mars and Stankovic, even within Kyiv, falls every time to hear and see their «fern» if first, thereby raising the level of work Stankovic classical opera genre, and – text persuasive techniques. The content of the argument is based on rational judgments FACTS character. Relationship between thesis and argument made by means of deduction (evaluating third posing critic in his reasoning backward from the current situation because of previous opera productions) and traduktsiyu (conducted analogy to J. Opera. Verdi’s «La Traviata»). The second argument concerns the two previous productions of the opera - the first, which did not take place in Due to the prohibition of performance through clear national nature of the work (described general rehearsal prepared by the State Symphony Orchestra of USSR under the conductorship Glushko and F. folk choir named. G.Veryovka under the conductorship A. Avdeyevka), and the second - in the chamber are made Choir «Kyiv» (cond. M. Hobdych). Critics also uses text credibility and tricks rational judgments factual nature. How thesis argument - deductive. The third argument refers to the third staging of the opera. The author notes that it timed to the 60th anniversary of People’s Choir. G.Veryovka. Described and assessed setting specific components: the dominant genre, performing the composition more. In particular, states: «Frankly, the current version of» Fern Blooms «, due choreographer A. Rubin, be honest called folk-ballet (or even ballet), which plays in the orchestra of folk tools (editors again, this time - Gennady Eremenko) and real «bird wedge» Folk Choir mad summer rite of love and fertility (by setting includes four episodes opera - «Human Kupalo», «Rusalka bathed», «witch Kupalo» and «Final Kupalo») [1; 311]. The specified role singers, soloists and chorus and the estimation performance: «After that the opera make singers soloists, it took over the dancers. Chora is no choice as fulfill the role of «Opera corps de ballet.» And thank God, because only the «role of the second plan» huge collective hero of the day, began to sing not just «people» (no matter - that Ukrainian that Mexican song), but varied and sometimes inspired sound «[1; 311]. In argument persuasive techniques used text, rational factual judgments and value character. Relationship between thesis and argument is inductive. The fourth argument indicated how it would be correct deficiencies concert the first branch of the program -in particular, significantly edit (or even better again rewrite) arrangements of folk songs, abandoning templates voice, speakers, performing techniques. The downside of the program, according to critics, it is the absence of at least one treatment M. Leontovich. Here, as in the past, applied techniques of persuasive text, rational judgment, factual content and value. Inductive reasoning constructed - on the assessment of the third staging of the opera «Fern Blossom» through detailed analysis of the performance of National Choir. G.Veryovka to assess the state of musical culture general (stated that, unfortunately, the best examples of musical culture inaccessible to the listener). An analysis review J. Bentham are the following conclusions. The main idea of the article presented in a simple premise - considered and evaluated one aspect the subject - the third staging of the opera. By the nature of the information this thesis are estimated and explicit and has four arguments. In All arguments persuasive techniques used text - descriptions seen and heard, their impressions and thoughts on the matter. They are based on sound judgment. The first and second arguments are factual (focused on facts), but in the third and fourth - along withfactual information are also estimated statement. The relationship between thesis and arguments going through inductive (first, third, fourth arguments) deductive (second argument) and traduktyvnyy (first argument) methods of evidence meditation. Thus, the example of two opposing comments - mostly positive expectations and Y. mostly negative J. Bentham - followed basic structural elements as a basic review genre of music critics and their semantic nature. Indicated the presence of one text difficult thesis (Yu Chekan) in another - simple (J. Bento), the combination of rational judgment with emotional in the first review (Chekan south) and complete lack of emotional judgments in the second (J. Bento), the combination factual information and values in most reviews first argument (Yu Chekan) prevalence and factual arguments in the second case (J. Bentham), and the prevalence of deduction a vivid example of traduktsiyi reviews Yu expectations and inductive reasoning to go review J. Bentham. Found differences suggest that these reviews are examples of two different types of musical structures critical text.

References 1. The third attempt Bent Yu / Yu Bent // Music critic: Theory and Methods: teach. Guidances. / Zinkevych O. Yu Chekan. - Chernivtsi Books - XXI, 2007. - P. 309-312. 2. A. Zinkevych music critic: Theory and Methods: teach. guidances. / Zinkevych O. Yu Chekan. - Chernivtsi Books - XXI, 2007. - 424 p. 3. Proof Chekan Yu and argumentation in music-Tex CRITICAL / Yu Chekan // Science. Visn. Nat. muses. Acad. Ukraine. Tchaikovsky. - Vol. 98: World musicology: strategy discourses subjects: Coll. Science. Art. / [Editor- compilation. OB Solomon]. - K., IA them. Tchaikovsky, 2011. - P. 373-386. 4. In Chekan Yu then «Nota» / Yu Chekan // Music critic: Theory and Methods: teach. Guidances. / Zinkevych O. Yu Chekan. - Chernivtsi Books - XXI, 2007. - P. 298-300.

Summary Reviews analyzed «on it and» Nota «Yu expectations and» Third attempt «J. Bentham. Defined quality evidence and argument structure, species are compared theses, arguments and evidence reflection, conclusions on common and distinctive features of evidence and argument in the analyzed articles. Keywords: review, evidence, argument, argument, evidence-based thinking.

Summary Belozerova O. Structure of argumentation musically critical to text (on material of reviews of Yu. Shekana and Yu. Benti) The basic genre of music criticism is a review (from the Latin. Recensio - judgment proceedings, examinations). The object of the review can be work, concert, book and t. N. It contains an analysis, interpretation and evaluation of a phenomenon and contains detailed information on the proposed facility. Reviews analyticity range is quite broad: it can be like annotation, and can equal the great article. An important component is the interpretation of Reviews: critic expresses his understanding of the work - its content, imagery interpretation provides the author’s intention (or - depending on the object of criticism - director’s decision, interpretation of performance). Interpretation together with an analysis of value judgments is a prerequisite. The review has a number of functions: axiological, cognitive, educational, educational, communicative, and the dominant and defining the genre is axiological. Mandatory elements review the evidence and arguments. Proof - a logical operation, which substantiates the truth of any statement by any true associated with him judgments. The argument – the process of conviction of the truth of the statement recipient via text (verbal description of the work or its implementation) and non-textual methods (appeal to the idea of authoritative people). Despite the difference of proof and argument, their structure is common. It includes three elements: thesis, argument and evidence-based thinking. Abstracts are divided: the content - the simple (one marked by the quality of the phenomena) and complex (recorded several qualities); in substance information - on factual («as is»), evaluation (assessment which argued below) and regulations («they should be»); the form of expression - in explicitly and implicitly formulated formulated. Arguments divided: the following based on rational assertions, and - on the emotional basis; factual (focused on facts) and in value (focused on assessment and standards). Evidence meditation show the reader the link between thesis and arguments. They are made in the form of induction (when the thesis is a summary statement and argument - the single factor) deduction (thesis - a single factor, but the argument is generalizing statement) and traduktsiyi (relationship between thesis and argument through analogy). Reviews analyzed «on it and» Nota «Yu expectations and» Third attempt J. Bentham. Defined quality evidence and argument structure, species are compared theses, arguments and evidence reflection conclusions on common and distinctive features of evidence and argument in the analyzed articles. On the example of two opposing comments - mostly positive expectations and Yu Yu Bent mostly negative - followed basic structural elements of the review as a basic genre music critics and their semantic nature. Indicated the presence of one text abstracts complex (Yu Chekan) in another – simple (J. Bento), the combination of rational judgment with emotional in the first review (Chekan south) and complete lack of emotional judgments in the second (J. Bentham) a combination of factual information and values in most reviews first argument (Yu Chekan) and the prevalence of factual arguments in the second case (J. Bento), the prevalence of deduction and vivid example of traduktsiyi reviews Yu expectations and inductive reasoning in the course of the review J. Bentham. Found differences suggest that these reviews are examples of two different types of musical structures critical text. Key words: review, evidence, argument, argument, evidence-based thinking, the main structural elements, positive, negative perception of the text, features reviews, evidence, thesis, antithesis, feature Yu. Bentya, Yu.Chekan.

Abstract Belozerova O.V. The structure of argumentation music-CRITICAL text (for material expectations and comments Yu Yu Bent) Proanalyzyrovanы Review «on it and» Nota «» Yu expectations and «Third attempt» J. Bentham. Opredeleno Quality, structure of argumentation and proof, sopostavlenы types tezysov, dokazatelnыh rassuzhdenyy arguments and, on occasion sdelanы conclusions obschyh otlychytelnыh and hell proof and argumentation in analyzyrovannыh article. Keywords: Review, proof, argumentation, thesis, dokazatelnoe reasoning. Received 10/10/2014

UDC 784.4 (= 161.2) .072 V.F. Ohmanyuk

METHODOLOGICAL BASIS OF CURRENT RESEARCH ETNOMUZYKOZNAVCHYH

The current state of Ukrainian society and due to the nature of his research interests and priorities indicate dominance in traditional humanities interests creativity, its regional, local characteristics, aesthetic principles and norms traditional folk music. The purpose of this article is an attempt to outline the methodology of modern etnomuzykoznavchyh Research, in particular - rytmostrukturnoho and semiotic aspects can be used The study of ethnic music over Ukraine. In modern research methodology etnomuzykoznavchyh out the following areas: 1) Follow rytmostrukturnoho method development started in the writings of K. Flowers, F. Kolessa, Mr. Sokal; 2) development of semiotic approaches the study of traditional singing B. Goshovsky A. Ivanytska. Rytmostrukturnyy direction was initiated S.Lyudkevych and then gradually utverdzhuvavsya K. Kvitky1 in reserve, however - the largest development reached in the second half. The twentieth century. In works Goshovsky B. and B. Lukanyuk. Analysis of scientific heritage K. Flowers evidence of the exact orientation of scientific methods research: application of modeling of rhythmic patterns, a combination of popular typology Music geographical distribution aspects of music types. On the concept of K. Flowers – folklore is the result of two natural processes - ethnogenesis and evolution of humanity. [7] Scientists believed folklore subject being studied under the transcribed melodies and Texts which are not prepared to historical documents; they should create. The lack of qualified Recorder folklore confronts scientists, according to K. Flowers, demand critical attitude to folk texts [7]. As for the accuracy of notation K. Flower first drew attention to the excellence of fixing invariant patterns in chants. This invariant - rytmotypolohichnoyu form - for it was Song type. His form components such tunes as musical and rhythmic form skladochyslova structure - and the foundation that enables testify autochthonity culture [7]. Factors rhythm structural typology is a simulation of rhythm and its structural type mapping that brings the perspective of research on areal typology – Statistics dissemination of song types on the area of settlement of ethnic groups. K. flower type rytmostrukturnyy applied as a tool in the critical-textual intelligence, speaking on the issueof objectivity innovator assessment identity of his singing and notation. Unlike musicological principle which makes it possible to assess the accuracy of the record on the basis of parts melody and rhythm, K. flower zaproponovuye principle of correspondence design with musical notes Song typical. Comparing notation Harzhevskoho M. and F. Kolessa with singing Franko it explained the difference between the notation «photographic» and «typological». Based on a critical analysis of the two recordings K. flower proved that ethnomusicology is significant structural and typological features that reveal fundamental features tunes in ancient archetypes [7]. The result of theoretical work collectively and C. The flowers have a theory rytmostrukturnoyi typology, directed at addressing issues of ethnogenesis migrations of peoples, assimilation phenomena [7]. Diagnosing elements in determining song melotypu are: the origin of the song (the specific or by flow) of Ethnography (function) and music genres, models of the structure of the verse, song rhythm, semantic structure of the poem, zvukovysotnogo (melichnoho) relief and general content of the verbal text. Rytmostrukturnyh methodology (systematic, typological) research is based on the fact that chooses the subject of his research primarily rhythm (verse, melody, form). The main rytmostrukturnyh research methods are design and typology. Using these methods studied deep level - rytmostrukturnyy type gamuts and their interference, architectonic (modeled) notation. One of the main tasks rytmostrukturnoho analysis of the folk song is a simulation rytmostrukturnoho song type. Its definition involves analysis and dismemberment song structure and modeling its basic levels. Song theory provides analytical type of action to three levels - determining the structure of the verse, rhythm and song forms. The analysis involves understanding the folk-song verse of poetry - tonic, sylabo- syllabic and tonic. Central to the analysis rytmostrukturnomu song sample analysis belongs Song rhythm. As you know, Ukrainian and Belarusian folklore unity skladochyslovoyi verse structure (syllabic structure) and rhythmic form extremely stable and consistently enforced. This phenomenon shows the presence in the songs of basic rhythmic structures. This was the basis of development rytmostrukturnoyi typology. According to A. Ivanytskiy, rytmostrukturna model - a «theoretical abstraction song form (and its segments). It is a generalized expression of structural patterns underlying based on the composition of song form and its parts «[6; 23]. The model can match the real rhythm songs, and may differ from it. Special analytical transactions for the purpose of aside from minor signs instead - to emphasize the basic features rhythm song type - modelyuvannyam2 called. The model can have a different degree of generalization - until the supposedly primitive type (invariant), from which arose specific melodic-rhythmic variations. In the analysis of song forms are ignored internal communications and proportions of the elements of shape, reviewed existing principles of development - repetition, variation, contrast, final provisions tones, melodic nature of the circuit and so on. Along with rytmostrukturnym modeling system uses two modal analysis - zvukoryadno-interval (F. Kolessa, S. Lyudkevych, K. Flower) 3 system interference and scales (V. Goshovsky A. Ivanitskii). The difference between the system scales from interference zvukoryadno- interval is that «the melody is not limited to a single scale, as previously differentiated (divided into sections that become the foundation of modal constructions «[6, 26]. Epistemological problem of the methodology of folklore studies reflected in B. Goshovsky works. According to the scientist, the fact - a «reflection phenomenon (or set of phenomena) reality in our minds <...> fact can not contain everything that accommodates phenomenon as a phenomenon on essentially infinite, inexhaustible, due to the fact that is always associated with other phenomena and the environment, which is. Instead, fact <...> is limited, one-sided, incomplete, but nevertheless is source element of all forms of knowledge «[1; 4-5]. The facts, according to Goshovsky require verification, selection, classification, their descriptions vzvyemozv’yazku using unambiguous statements or system terms. Thus, the facts of turn to empirical research. Present the totality of the facts as they are registered in the observation - impossible. It is therefore necessary to apply to the classification of the facts, with the result that any empirical fact becomes part of a certain class, that is, his representative, «substitute» all the facts are in this class. By means of classification equalized value individual facts in comparison with those that prevail in number, have the opportunity to speak of empty classes that are missing (neznaydeni yet) facts [1; 6]. There are one-dimensional and multidimensional classification, formal and contents, abstract (classification relationships) and hierarchical, selection and combination of which depends on the object, tasks, theoretical level research. B. Goshovsky observed if the multidimensional semantic classification characteristic features selected on the basis of effective, consistent theory, such a classification called systematization. Arrangement of facts reflects whole phenomenon, or that belong to them, commonly referred to as typology. It is considered the top art classification. Results typology formulated in one system concepts can be interpreted in different system concepts (eg., music. folk - in dialectological, ethnographic, ethnogenetical, evolyutyvniy etc.). To refute a hypothesis, to find a weak link in the theory and prove its weakness or fallacy, and offer many examples confirm the new theory. Necessity Evidence of argument, according to V. Goshovsky - each critical condition or scientific work. B. Goshovsky musical dialect called «range of different stylistic features National folk music, which is distributed in a particular area «[2; 10]. Music By features that characterize the musical dialect scientist considers 1) the presence or absence certain types of songs and genres; 2) characterized by territorial variations common to some dialects song types; 3) tectonic elements set of songs (harmony, rhythm, melody, intonation ties manner of execution and others.) 4) adaptation of the national or migratory song types to Local musical style patterns [2; 10]. Goshovsky also share all kinds of creativity in folk folk-song (heterodiya – with Greek. - «Heteros» - different and «Audet» - singing, song - versions of traditional folk songs with modern text); napivfolklorni («raw folk» (the term Goshovsky) songs created individually in traditional fashion, but are not intended (at the time of conception) to perform in public, usually known only to their creators) and psevdofolklorni (demodiya) created by amateur or professional composers in the folk style to make up the repertoire of folk choirs and ensembles submitted them as people [2]. Semiolohichni problems of methodology of folklore studies occupy a prominent place in works of Ivanytskiy. According to the scientist, analogous grammatical level in the folk song is a rhythm, and phonologic - intonation (as melodic tune-complex). Then the level rhythmic folk songs clearly arranged three tiers: phonetic (skladnota), morphological (segment terms) syntactic (stanza). In other intonation level defined tiers: phonetic - sound (or group chant sounds on skladnoti), morphological - intonation turnover (based on rhythmically-verbal segment), syntactic - melody (reliance on rhythmic structure stanza) [4]. According to A. Ivanytskiy, that consideration of song types makes it possible to understand various phenomena folk music culture, that is, to paraphrase L. Gumilev «get the most information lowest number of cases «[4]. A. Ivanitskii considering five principles (arhetypiv4) rhythmic development in Ukrainian folklore: 1) crushing; 2) the association; 3) fragmentation of the union; 4) Practice; 5) association with fragmentation. «Five of the aforementioned principles are fundamental rhythmic archetype model musical and folk thought <...> binary code, which is modeled five principles of rhythmic been warned prozirlyvo V. Goshovsky. Kod5 binary – it binary kernel musical rhythmic thinking «[5; 1]. Verbal memory and storytelling, according to A. Ivanytskiy, based on the creation and using figures of generalization. «Do not be that long-term memory and of rytmostrukturnu typological norm song melody acquired would obviously amorphous form (as a co animals birds) and a theoretical model to reproduce archetype would be generally unthinkable «[5; 2]. In linguistics there is the notion of norms and individual speech patterns. The rate is «Middle level language» (Yuri Stepanov). «Typologization folklore, which is watch - says A. Ivanitskii - is nothing as a result of gradual coding first vague, unstable feelings, the development of «standards» in the form of principles, including rhythmic development. Then there was semantization this code and transfer it in the art of inherent conventions, original aesthetics and reflection time «[5; 2]. As an example of Music and semantic code Ivanitskii A. E. Gippius cites the definition of «chant formula ‘ seeing it as esoteric understanding ritual function. Referring to Teyayar de Chardin, A. Ivanitskii indicates that «in folklore in pidsvidomo- collective level system processed numerous symbols and codes and algorithms run Information Programs. These bases provide long oral transmission of works of folklore generation to generation for thousands of years. Neither the author’s work can not hold a time because it lacks a program that on a subconscious level provides a so-called action sustainability factor «[5; 3]. After code generation, according to scientists, the process begins Encryption invariant, become effective variable factors and growing complication individual characteristics. So there are variants of songs related types. «Logical codes folklore and primitive art - said A. Ivanitskii - is the same degree of ethnic and supra-ethnic. Codes interpretation of music as rytmostrukturnyh archetypes capable mandruvavaty in historical time and root fragments together with the deceased ethnic group in the new (other) parts and bio-noosphere «[5; 3]. Thus, we have noticed the need for further advanced in etnomuzykoznavchyh studies a number of methods, among them - two main – rytmostrukturnoho type and semiotic method used in a broad context, intonation and musical Historical and cultural approaches.

Notices 1 K. flower in work «Ukrainian song about mother-child killer» typological classification carried chants rytmostrukturnyy and their analysis. Scientists conducted by the grouping of songs structural types. He discovered types: 1) (4 + 4) with iambic monorytmichnoyu form; 2) (6 + 6) izorytmichna form is broken insert words «Gay»; 3) (4 + 6) - the most common variant, which identified eight groups and several subgroups of options. In this work, K. Flower first applied the method of rhythmic modeling. 2 Modeling based on four steps: removing unnecessary elements text alignment dotted rhythms, combining melodic chants, cancellation fermata pauses and [6; 24]. 3 Zvukoryadno-interval modes systematics - the number of sounds (-tonni system) for ambitusom (-hordni system) for the interval composition (diatonic, alterovani ways, major-minor). 4 V. Goshovsky proposes to distinguish prototype and archetype. Archetype - the oldest form containing the main elements of this type of song. Prototype - theoretically created the prototype versions of the song type [3]. 5 The scientist points out that research practice etnomuzykoznavchiy binary code is used along with other types of models (they often consist of three rhythmic durations - eights, and chvertok halves).

References 1. Hoshovskyy VK Ticket and epistemology narodnoy music. Nauchnыy fact and ego Description / VK Goshovsky // From Scientific Society. Shevchenko Ukrainian free to University: Intern. Science. Conf., 1991. / [compilation. M. Mushinka; ed. P. Sokhan; NAS of Ukraine, Inst Ukrainian. arheohraf. etc.]. - K., 1992. - P. 17-31. 2. V. Hoshovskyy People’s Songs ukrayntsev Transcarpathia / V. Hoshovskyy // Hoshovskyy V. Ukrainian Transcarpathia songs / V. Hoshovskyy. - Moscow: Sov. Composite., 1968. - P. 3-72. 3. Hoshovskyy B. Types of Ukrainian Christmas carols and s structural rytmycheskye in raznovydnosty Slavs / V. Hoshovskyy // Hoshovskyy B. ystokov Slavs narodnoy Music: Essays on musical slavyanovedenyyu / V. Hoshovskyy. - Moscow: Sov. Composite., 1971. - P. 81-138. 4. Ivanitskii A. Something about methodological issues muzykolohiyi / A // Ivanitskii Materials to Ukrainian art history: Coll. Science. pr. / [emphasis. GV Stepanchenko]. - K. Nan Ukraine, IMFE them. MT Rila, 2003. - Vol. 2. - P. 282-288. - (In memory of Academician OG Kostiuk). 5. Ivanitskii A. Rytmostrukturna typology: genetic bases / A // Folk Ivanitskii art and ethnography. - 2008. - № 6. - P. 4-12. 6. Ivanitskii A. Ukrainian musical folklore (methodology and technique): teach. Guidances. / A. Ivanitskii. - K.: Testament, 1997. - 392 p. 7. Taras Shevchenko in love epistolary manuscripts [electronic resource]. - K., 1966. - 492 p. - Access: http: // izbornyk.org.ua/shevchenko/epis.htm

Summary The methodological principles of modern ethno musicological research, particularly Flowers structural rhythm K. and B. Lukanyuk semiotic research methods and traditional singing Goshovsky B. and A. Ivanytskiy. Keywords: rytmostruktura, techniques, methodology, semiotics, etnomuzykoznavchi research.

Summary Ohmanyuk V. Methodological bases of modern ethnic musikologists researches In modern research methodology etnomuzykoznavchyh out the following areas: 1) further development rytmostrukturnoho method started in the writings of K. Flowers, F. Kolessa, Mr. Sokal; 2) development of semiotic approaches the study of traditional singing Goshovsky B., A. Ivanytska. Rytmostrukturnyy direction was initiated S.Lyudkevych and then gradually in the reserve utverdzhuvavsya K. Flowers, however – the largest development reached in the second half of the twentieth century in the writings of W. and B. Lukanyuk Goshovsky. The methodological principles of modern etnomuzykoznavchyh research, including rytmostrukturnoho K. and B. Flowers Lukanyuk semiotic research methods and traditional singing Goshovsky B. and A. Ivanytskiy. Analysis of scientific heritage K. Flowers evidence of the exact orientation of scientific research methods: use of simulation rhythmic structure, combination of folk music typology geographical distribution aspects of music types. On the concept of K. Flowers – folklore is the result of two natural processes – ethnogenesis and evolution of mankind. As for the accuracy of notation K. Flower first drew attention to perfection fixing invariant patterns in chants. This invariant – rytmotypolohichnoyu form – for it was the type of song. His form components such tunes as musical and rhythmic form and skladochyslova structure – and the foundation that enables testify autochthonity culture. The result of theoretical work collectively and C. The flowers have a theory rytmostrukturnoyi typology, aimed at resolving issues of ethnogenesis migrations of peoples, assimilation phenomena. According to A. Ivanytskiy, rytmostrukturna model – a «theoretical abstraction song form (and its segments). It is a generalized expression of structural patterns underlying song form and composition of its parts». Along with rytmostrukturnym modeling system uses two modal analysis – zvukoryadno-interval (F. Kolessa, S. Lyudkevych, K. flower) and system interference scales (V. Goshovsky A. Ivanitskii). The difference between the system scales from interference zvukoryadno-interval is that «the melody is not limited to a single scale, and pre-differentiated (divided into sections that become the foundation of modal constructions». So we stressed the need for further advanced in a number of studies etnomuzykoznavchyh methods, among them - two main - rytmostrukturnoho type and semiotic methods used in the broader context of musical intonation, historical and cultural approaches. Key words: rytmostruktura, techniques, methodology, semiotics, etnomuzykoznavchi research, folklore, scientific research, national musicology, K. Kvitka, V. Hoshovskyy, S. Lyudkevych, F. Kolessa, Ivanytskyy, B. Lukanyuk.

Abstract Ohmanyuk V.F. Fundamentals ethno methodological sovremennыh muzыkovedcheskyh of research Rassmotrenы methodological sovremennыh Principles of research эtnomuzыkovedov in Flights particular rytmostrukturnoho K. and B. Lukanyuk, as well as methods semyotycheskyh Studies tradytsyonnoy pesennosty Goshovsky B. and A. Ivanytskiy. Keywords: rytmostruktura, methods, Methodology, semyotyka, Studies эtnomuzыkovedov. Received 01/12/2014

UDC 7.072.2 T.V. Shnurenko

DOSLІDZHENNYA TRADITSІYNOЇ SHIRTS CARPATHIAN REGІONU STORІNKAH TO THE JOURNAL «FOLK TVORCHІST TA ETNOGRAFІYA» Doslіdzhuyuchi those chi Lots Other power in whether the Branch yakіy science obov’yazkovo zvertaєmos up perіodichnih Vidanov vіdpovіdnogo spryamuvannya. Sered Vidanov that etnologіchnogo etnomistetstvoznavchogo directly: «Kievan antiquity» (Kiev), «Narodoznavchі zoshiti» (Lviv) «Soviet Ethnography», «Ethnographic Review», «Living Antiquity» (Moscow), the magazine «People’s tvorchіst that etnografіya» (z 2011 r. - «People’s tvorchіst that etnologіya») ІMFE IM. MT rylsk National Academy of Sciences of Ukraine posіdaє chіlne Location at vivchennі teorії, іstorії she’ll Suchasnyj narodnoї culture. Pratsі of Ukrainian, zarubіzhnih vchenih, naukovtsіv dіaspori, a young tribune doslіdnika, heading «Rozvіdki i materіli» Looking around she retsenzії novih publіkatsіy, inventory rіznomanіtniї fondіv, kolektsіy that rіdkіsnih Vidanov - not Povny perelіk napryamіv publіkatsіy tsogo Vidanov. On storіnkah naukovo Vidanov znayshli Location i rozvіdki, prisvyachenі doslіdzhennyu traditsіynogo odyagu one zokrema, shirts. Beruchis to doslіdzhennya ukraїnskoї shirts yak pomіtnogo yavischa narodnoї culture, we can not obіyti uwagi robots vchenih quiet, yakі vivchali її shte in Radyans’ka hour. Ih Prace potrebuє zgadki that otsіnki, chogo ranіshe not robilosya detail. Ob’ektom proponovanogo chitachevі doslіdzhennya stattі Yea, opublіkovanі in tsomu i zhurnalі prisvyachenі visvіtlennyu skladovoї ukrajins’koho traditsіynogo ranks - shirts - s point of Zora Suchasnyj doslіdnika. Bike іstorichne that hudozhnє values ukrajins’koho folk costume bezumovne, yak i Yogo main Components - shirts. Materіali arheologіchnih rozkopok, Naukova doslіdzhen svіdchat scho traditsіyna shirt on teritorії Ukraine Pocha formuvatis shte to chasіv Kiїvskoї Rusі. Vid glibokoї davnini i vprodovzh usogo іsnuvannya shirt zadovolnyala materіalnі not deprivation, but i duhovnі require Lyudin, vikonuyuchi neobhіdnі pobutovі, sotsіalnі, obryadovі, magіchnі funktsії. In kontekstі doslіdzhennya traditsіynoї shirts zvernemos to Prace knowledge naukovtsіv that materіalіv molodih vchenih, nadrukovanih at tsomu zhurnalі. Dana Statt Je sproboyu look around rozvіdok doslіdnikіv Carpathian regіonu: Ya Prilipko, Kostishinoї M., A. Pathrusim- Carpathian, Porіtskogo A., L. Shevchenko, O. Komandirova, O. Polyanskoї, Nіkolaєvoї T., T. Kara Vasilєvoї, J. Kozholyanko. Perche doslіdzhennya traditsіynogo odyagu gіrskih narodіv Carpathians storіnkah magazine datovane 1940 p. («Art of gortsіv of Ukrainian»). L. Shevchenko opisuє Pobut, traditsіyne Zhytlo, dekoruvannya Zhitlo, hatnіh speeches kilimarstvo. Avtorka pridіlyaє uwagi i traditsіynomu suit and the Same ornamentatsії cholovіchih that zhіnochih sorochok. Okrіm tehnіk vishivki, kolorovoї gamma rozmіschennyam vishivki on rukavі, znahodimo Opis cholovіchoї s vishivkoyu komіra shirts, cuffs, verhnoї Chastain Sleeve is the bottom of the shirt. Taku shirt worn navipusk, obov’yazkovo pіdv’yazuyuchi belt [12; 48]. Vivchennya folk costume is the Yogo elementіv in іstorichno-etnografіchnomu kontekstі formuvannya ukraїnskoї natsії - Tse power rozglyanuv have svoїy stattі vіdomy etnograf Ya Prilipko [12]. Analіzuyuchi pratsі Kuftіna B., N. Grіnkova, Kryukovoї T., N. Lebedєvoї V. Belіtser, M. Shmelovoї, F. Vovk, Vladimir Bogdanov, J. Prilipko doslіdzhuє cutaneous subject of national odyagu, Yogo materіal, shape, Principi tailoring that poshittya, kolorovu range. Vіn prostezhuє tіsny phone reception mіzh traditsіynim that odyagom etnіchnimi, natsіonalnimi, local estitichnimi gusto, scho traditsіyno skladayutsya in concrete Complex abo suit pevnoї etnografіchnoї Zoni. Bagato uwagi pridіleno doslіdzhennyu ukraїnskoi traditsіynoї shirt. Author of the way spoluchennya pіlok fabric on the shoulders vidіlyaє Vier Main tipi tailoring: shirt inserts s, s sutsіlnim sleeved shirt that tunіkopodіbna s «talіykoyu.» Ya Prilipko doslіdiv phone reception mіzh web width is the principle of sewing vustavok: there de traditsіyno vigotovlyayut fabric width of 45-50 cm., vustavki prishivayut on osnovі de width 75 80 cm. - Prishivayut on pіtkannyu. Author zvertaє uwagi on Taku zakonomіrnіst: vustavkami s shirts, sewn on osnovі, traditsіyno shiyutsya troh s paintings, and Ti, scho on pіtkannyu - s dvoh. Yak zrazok perehreschennya etnokulnih zv’yazkіv, J. Prilipko prostezhuє area pobutuvannya shirts, poshitoї in that Dvi Three pіlki, porіvnyuyuchi їh s traditsіynimi kroyami sorochok sіveryan, v’yatichіv that Drevlyane [11; 15]. Bicycle The value of y is the doslіdzhennі traditsіynogo suit shirts, yak osnovnoї Chastain odyagu at Dumka author Got kolіr vishivok, rіznomanіtnі tehnіki, hudozhnє decorated shvіv, rozmіschennya that character malyunkіv [11; 16]. In stattі «Z folk odyagu Chernіvetskoї oblastі» [11] H. Pylypenko detail opisue traditsіyny zhіnochy that cholovіchy odyag Bukovynska Podillia, yaky MAV vіn mozhlivіst bachiti on oblasne svyatі pisni i dance in m. Chernivtsi travnі at 1959 p., de boule predstavlenі tunіkopodіbnі zhіnochі shirts stroїv Bukovynska Podillia that Gucul’schini, Zhinocha Bukovynska shirt s dvoh Chastain, traditsіynі shirts s «morshinkoyu» [10; 85]. Author detail opisuє їh, zvertaє uwagi on tailoring that zmіni vishivki traditsіynoї shirts in zv’yazku s vikoristannyam for poshittya folk costume (zokrema shirts) factory tkanin [10; 89]. Vіdomy naukovets M. Kostishin vprodovzh pp 1975-1978. zhurnalі at the «People’s tvorchіst that etnografіya «opublіkuvala three-stattі doslіdzhennya odyagu Bukovina. In robotі, datovanіy 1976 p. [4], Author proanalіzuvala zrazki zhіnochih kostyumіv, yakі pobutuvali on teritorії Suchasnyj Novoseletskogo, Zastavnіvskogo, Kіtsmanskogo, Hotinskogo, Kelmenetskogo that Sokiryanskogo rayonіv. So the title of «s shirt zmorshinkoyu» M.Kostishina rozglyadaє, yak yak naydavnіshu that have іsnue dvoh varіantah: polikova i bezpolikova. Doslіdnitsya zaznachaє scho for vishivki rukavіv sorochok Zastavnіvskogo area harakternі sutsіlnі pattern without promіzhkіv paintings circled fringe s troh bokіv. Tsya border utvoryuє frame vishitu abo srіblyastimi gold thread - «hіrom» [4; 60]. Pid Polycom have verhnіy chastinі sleeves vshivaєtsya smuzhka od 5 to 15 cm. zavshirshki - «zmorshka.» Vishivka tsogo Elements is geometric. The basis ornamentatsії rukavіv sorochok tsієї mіstsevostі for sposterezhennyami doslіdnitsі, very hard drіbnі geometrichnі form in poєdnannі s geometrizovanimi Roslyn motives yaskravih green, orange, crimson, blue, zhovto kolorіv. Yak zaznachaє M. Kostishin on vіdmіnu od drіbnih ornamental motivіv Zastavnіvskogo area for uzorіv sorochok Kіtsmanskogo area harakternі velikі roslinnі Elements scho vikonuyutsya tehnіkoyu relєfnogo flooring burgundy, crimson, buzkovimi kolorami in poєdnannі s green leaves. Shirts okolitsі m. Chernivtsi vіdrіznyayutsya Roslyn ornament vishitim symmetrically. Porіvnyuyuchi shirts Zastavnіvskogo, Kіtsmanskogo rayonіv s shirts Kelmenetskogo Ratzon, M. Kostishin zaznachaє rіznitsyu in shirinі «zmorshinki» vіdsutnіst chohlіv (manzhetіv). Zamіst them takoї sleeve shirts zbiraєtsya have zborku - «little wheat.» Strimanu kolorovu din vishivki sorochok Sokiryanskogo area zobumovlyuє «chernyatka» - ornamentalnі kosі Smuha tsogo pattern vishivayutsya Chorny kolorom deprivation. Vishivka, vikonana tehnіkoyu lіchilnoї gladі at Dumka avtorki, spravlyae vrazhennya woven pattern [4; 61]. Doslіdnitseyu vivchayutsya Principi dekoruvannya, ozdoblennya, rozmіshennya vishivki on shirts tsogo regіonu that vіdnosno recently (30 Ti Rocky twentieth century.) appeared novih kroїv traditsіynih sorochok (shirt on kokettsі) [4; 62]. In svoїy robotі «Hudozhnє clearance Bukovynska folk costume gіrskoї mіstsevostі «[5] M. Kostishin zaznachaє scho in peredgіr’i, rіvninnih regions of the Carpathians, in effect ob’єktivnih reasons zokrema, vplivu mіskogo odyagu, in zmіni hudozhnomu virіshennі traditsіynogo suit vіdbuvalisya shvidshe, anіzh have gіrskih areas. Tim hour traditsіynі complex of national grief odyagu zbereglisya to 50 rokіv XX century. [5; 54]. Well Tsі pillows dotrimuєtsya i A. Pathrusim-Carpathian have robotі «Nove in pobutі that kulturі gіrskogo village» [7]. Zokrema, vіn zaznachaє scho gіrskih villages in the Same traditsіyna shirt naykrasche zbereglasya to tsogo hour (1950 Rocky Ti) i on the hour not viyshla s povsyakdennogo vzhitku [7; 94]. Vivchayuchi OAO All Elements cholovіchih that zhіnochih kostyumіv, M. Kostishin [5] pridіlyaє uwagi doslіdzhennyu shirt. Vaughn zaznachaє scho cholovіchі i, i zhіnochі shirts until the mid XX century. zberegli Forms, scho sklalisya up cob XX century .: vishivka tehnіkami «niz», «Coanda», «Chrest» geometrichnі motivates cholovіchih tunіkopodіbnih sorochok, tsієyu Well tehnіkoyu vishitі zhіnochі tunіkopodіbnі shirts that shirts Zi «zmorshinkami.» Materіalom for vishivannya boules outside, shovk, srіblyastі Zoloti that thread, and takozh bіser [5; 54]. Vikoristannyu Tsikh tehnіk vishivki, printsipіv tailoring that Shittu had modelyuvannya Suchasnyj odyagu prisvyachena robot M. Kostishinoї «Bukovinskі traditsіynі motif in Suchasnyj vbrannі» [3]. Doslіdzhuyuchi robots modelєrіv factory hudozhnіh virobіv IM. Fedkovych, Won zvertaє uwagi on vikoristannya motivіv sorochok Bukovynska Podillia [3; 20], and takozh elementіv shirts «rukav’yanki» yak pobutuє in Putilskomu gіrskomu rayonі Bukovina (Valley rіki Putili) [3; 21]. Tsey district M. Kostishin doslіdzhuvala have svoїy poperednіy robotі. In zastosuvannі elementіv rіznih tipіv sorochok, tehnіk vishivannya, Suchasnyj materіalu author vbachaє aktualnіst vikoristannya tsogo have modelyuvannі Suchasnyj odyagu. Z-pomіzh bagatoh doslіdzhen viznachnogo naukovtsya A. Porіtskogo, Statt «Etnografіchne doslіdzhennya Carpathians «[9] Yea metodologіchnim dovіdnikom for Relief yakogo mozhna vivchati Karpati yak okremu іstoriko-etnografіchnu area. Cob doslіdzhennya Carpathian ukraїnskіy etnografії author pov’yazuє s dіyalnіstyu I. Ivan Vahylevych (psevdonіm I. Dalіbor, XIX cent.), J. Golovatskogo. Away Etap doslіdzhennya Krapat author pov’yazuє s dіyalnіstyu NAUKOVO tovaristva IM. Taras Shevchenko, yak viniklo naprikіntsі XIX century. in Lviv. On Dumka vchenogo, vazhlivimi for vivchennya materіalnoї culture Ukrainian Carpathians were of foreign scientists Moshynskoho K., R. Kayndlya, J. Falkovsky and others [9; 22]. The problem Carpathian historical and ethnographic generality author sees a close connection with study of the ethnic groups of the Ukrainian people, who have long been living in the Carpathians. In Article determined similarities in the traditions of Ukrainian highlanders - Lemko, Boyko and the neighboring part which lives on the other side of the Carpathians - Hungarians, Poles and Slovaks. This theme examines the material housing and traditional folk costumes (for example, Carpathian male sorochky- «cornflower» examined the characteristics of all Slavic nations) [10; 86]. Among ethnographic studies of certain areas, regions, the magazine find Materials for the study of traditional culture of individual settlements. One of these works is Article A. Komandyrova «Folk costume Ryahivschyny (pp. Yassin Transcarpathian region).» [2]. The author draws attention to the impact of traditional clothing neighboring peoples - Romanians, Czechs, Slovaks and Poles, graphics picture and color scheme costume, which prevails in this village. Traditional costume A. Komandyrov studies by the names of clothing, types of production and material [2; 83]. As a part of Costume and investigated shirt. The author notes that in the village. Yassin traditional shirt sewn from homespun cloth. Canvas tchetsya Hutsulka of purchased yarn. The shirt has two paintings. We can assume that the width of these paintings 75-80 cm (this in his work «Ukrainian People wear as a source of ethnic history study «explores J. Prylypko). If the width of two paintings insufficient sewn on both nod wedges - «tretynytsi». Based on the title, we can assume that this is the third segment of wide width cloth. The main canvas with «tretynytseyu» connected manually colored stitching - «circus» [2; 84]. According to the author, characteristic of women’s and men’s Ryahivschyny is covering collars, Duda, wide embroidery sinus. In YASYNIVSKYI men’s bosoms, sometimes for embroidery embroidered with capital letters - the initials of the owners. By the author finds interesting nadezhyt and tie - «Holer» worn by men embroidered shirts. For traditional embroidery technique, performance A. Komandyrov material and divided into four types: 1) the oldest (cross without canvas); 2) low-lying (black displayed graphic pattern, which is then filled with primary colors); 3) fettered (like double-sided surface); 4) beads (rather late type) [2; 87]. Ethnographer O. Poljanskaya in its article «Features of population of Transcarpathia clothes» [8] explores the wider area of the region, including Ukrainian problem interpenetration of cultures, Hungarians, Romanians and Slovaks who live on this territory. Complex of folk costumes researcher divides into four types: northern, southern, eastern and western. According to the observations of the author, for the eastern region is characterized shirts for women brightly embroidered setting (for Ryahivschyny typical black embroidery basis, and for Kosivschyna - red-yellow) [8; 23], shirts - tunikopodibnoho type. For women’s shirts Northern type characteristic rich decoration around the neck and thick bands fees that go from collar to cuff and waist. This embroidery called «frames.» A. Poljanskaya notes that this principle decoration characteristic of shirts southern Transcarpathia. The local difference here is «Voloska» women’s shirt tunikopodibnoho cut with quadrangular neck Neck [8; 24]. Exploring the western part of the Carpathians, where closely spivmeshkayut Ukrainian, Romanians, Hungarians and Slovaks, A. Poljanskaya notes that, for example, shirts uhorok who lived in Transcarpathia Women’s shirts reminiscent of traditional, typical for many regions of Ukraine - the traditional shirt «to podtachivanie «in which the upper part sewn with thinner fabric and the bottom - with rougher. Meanwhile here there was another kind of shirt - on the territory of Berehovo, Vynohradiv districts and shirt sewn sleeveless top she wore a short white blouse with puffed sleeves very [8; 25]. Blouses not were traditional Ukrainian wearable garment. This perceived impact of the Hungarian tradition. As the AA Poljanskaya in Hungarian villages in Transcarpathia there are different motives Hungarian embroideries several ethnic groups of the nation: kolochayi, mezekevedzhi, lilac and polotsi. This zobumovleno different territorial origin of immigrants [8; 25]. At the study A. Polyansky Transcarpathian region there were two types of Romanian folk costume. Traditional costume in general and its individual elements similar to the Southern [8; 27]. Men shirts for this zone cut and saved tunikopodibni Slavonic name - «scab» [8; 28]. Slovak clothes on A. Polyansky studied in Transcarpathia found only in a small zone Slovak settlements. This dress shows the influence of the two regions in Slovakia - Liptov and Hasty. There existed a typical «lyptovska» shirt («Galena»): a short, very broad and long sleeves, bottom decorated with embroidery, lace and top - woven ornament. Embroidery adorned the sleeves, collar, lap, prydol shirt. Author zazanachaye that women’s traditional shirt Slovaks («by side») under the influence of Ukrainian traditions had a cut, gathered thickly around neck vyshyvalas around the neck, shoulders and cuffs. Along with the shirt «Gehlen» here There is Common type of underwear men wear - tunikopodibna shirt «shirt» [8; 29]. A. Poljanskaya notes that, despite the centuries-old territorial isolation Ukrainian Transcarpathia from the central areas, they have managed to preserve their language, culture and tradition of making names clothes. Research apparel Ukrainian Carpathians, once held Kostyshyn M. [4], continued scientists Nikolaeva T. and T. Kara-Vasilyeva [6]. In August 1987 conducted research expedition along the foothills of the Carpathians and the Dniester rivers Prut (northern Bukovina) and Pokuttya. The aim of the study was to identify local features traditional folk costumes and embroidery. The material gathered for the preparation of production «Ukrainian people’s clothes,» which became part of historical and ethnographic atlas Ukraine [6; 67]. In his work, the researcher noticed that traditional clothing in the area almost completely out of the everyday, but every family function complex preserved folk modern dress production. Ancient costumes are mostly elderly people. Exploring the full range of traditional folk costumes, T. and T. Nikolaeva Kara -Vasilyeva detailing the local features tradition of cutting, sewing and embroidery traditional shirt. They have identified relict boundaries existence tunipodibnoho cut shirt that every ocality had its own peculiarities vertical or horizontal composite constructions. Researcher detailed Pokutsko local women’s shirt with «twisted» sleeved shirt «Rukav’yanky», «to coquette», «Chernyatka» appearance beads in embroidery shirts (50 years past century), features embroidery festive shirts (addition of silk, gold and silver threads, metal plates - spangles). Comparison of compositional techniques, how to cut, Technician embroidery and colors of shirts Bukovina, namely Zastavnivsky, Kitsmansky, Kelmenetsky, Sokyryany, Vyzhnytskyy, Storozhynetsky, Novoseletska areas, helps to identify similarities and difference vzayemozapozychennya [6; 71-72]. Looks details this traditional shirts REGON find in the works of Kostyshyn, as described above [4]. Pokuttya - Horodenka area, Snyatynsk, Kolomiyskogo and part Tlumach areas Nikolaeva T. and T. Kara-Vasilyeva distinguish in clearly defined by its artistic shaped signs ethnographic region. Traditional shirt in the region - «chornyenka ‘(female shirt) and «chervonyenka» (maiden). The name comes from the basic tone embroidery (black and red). These shirts are mostly decorated with geometric motifs. Same, they have different names, if thread for embroidery were from different raw materials, «chervonyenku» embroidered cotton threads, semi embroidered thread called «kotsyk.» The study, T. and T. Nikolaeva Kara- Vassiliev expressed a diversity palette of red color used in the embroidery Pokuttya - from orange-red to cherry and beet. According to the researcher, feature outfits Pokuttya is the existence of several villages in the area Snyatynsk embroidery shirts «white on white». Heometychni patterns - vosmypromeneva socket, a broken line, diamonds have been met techniques cutting and puncturing. The same technique embroidered shirts in some villages Tlumach area. Archaic motifs cross, cross diamond, square with hooks and broken line embroidered same thread cutting and puncturing black. These shirts by related techniques embroidery and color with traditional shirts older women southern Kyiv region. By observations and T. Nikolayeva T. Kara-Vasilyeva, at a certain commonality of folk clothes Carpathian general and shirts, as one of its main elements, there is diversity cutting, sewing, embroidery and pryzbyruvannya techniques (drawing, morschennya), colors [6; 73]. Soon after the article Nikolayeva T. and T. Kara-Vasilyeva in the magazine «People art and ethnography «, published an article by J. Kozholyanko» Traditional Ukrainian Folk Costumes North Bukovina «[1]. According to the author, natural and geographical conditions of northern Bukovina, location of the region at the crossroads of trade routes and considerable migration flow in XV-XIX centuries. Moldovans Romanian-Lipovans Russians, Germans and other nations had an impact on the traditions of tailoring, cut, decoration folk costume of ethnographic zone [1; 46]. Some work by dedicated research traditional shirt. At the northern Bukovina J. Kozholyanko recorded its three main types: 1) tunikopodibna; 2) with a single cut sleeves, which exists in two versions - polykova and bezpolykova. The two subspecies shirts, according to the author, different design neck. Polykova shirt Northern Bukovina, unlike bezpolykovoyi, embroidered luxuriant (like a shirt neighbors - Moldovans). Shirts tunikopodibnoho cut, detailed Ya Kozholyanko, more common in foothill area between the rivers Prut-Syretskoho. According to observations by the researcher, these shirts roll out different form: Round, diamond, triangular. The oldest form is round, which kroili form attached to the fabric bowls (remember tunikopodibna shirt kroyitssya with one cloth, folded in half). Next section did pazushky middle of the chest. Sometimes this section made through one or both shoulder [1; 47]. The most common motif embroidery tunikopodibnyh shirts Northern Bukovina are «Pougy» - geometric and floral ornament, which longitudinal or transverse stripes, sometimes completely, cover sleeve obramlyuvav front grooving - «wreath» came two stripes on the back, adorned division. According to J. Kozholyanko in 50-70 years of the last century traditional shirt out of use, leaving only tunikopodibni without much ornamentation and sleeves. We used these shirts to sleep [1; 48]. The author notes that, despite all the the above factors influences (intersection of trade routes, migration flows) in the formation, existence as traditional costume and its elements, Bukovina costume retained the features, characteristic folk costumes of all Slavic peoples [1; 51]. Pidsumovuyuyuchy considered, one could argue that ethnographic regions of the Carpathians, Bukovina, Pokuttya Transcarpathia Boykivshchyna, Lemkivschyna and Huzulschyna in the context of traditional study costume and its elements, including the shirt, at different times and studied renowned ethnographers young scientists. The most thorough studies concerned Bukovina. In particular shirt, which paid most attention, studied in detail in the works of J. Kozholyanko, M. Kostyshyn, Nikolayeva T. and T. Kara-Vasilyeva. The problem Carpathian historical and ethnographic community in the Ukrainian ethnographic science stands in close connection with the study of ethnic groups of the Ukrainian people who long to live the Carpathians [9; 21]. Studies clothing is of great importance in the overall study of culture, history, art every nation. For clothing as its main and oldest element - shirt, carry a lot of information, some of which require further study, research and decryption. And in this work is exceptional assistants periodicals in which zkontsentrovano and constantly updated much valuable information. In the study of Ukrainian traditional shirts this magazine is «Folk art and ethnography» Institute of Art, Folklore and Ethnology. MT Rila National Academy of Sciences of Ukraine.

References 1. Kozholyanko J. traditional Ukrainian folk costumes of Northern Bukovina / // J. Kozholyanko Folk art and ethnography », 1988. - № 5. - S. 45-51. 2. A. Komandyrov Folk costume Ryahivschyny / O. Komandyrov // Folk art and Ethnography, 1959. - № 3. - P. 82-88. 3. Kostyshyn N. Bukovina traditional motifs in modern dress / M. Kostyshyn // Folk art and ethnography, 1978. - № 4. - P. 19-23. 4. M. Kostyshyn features traditional folk Bukovina skirts women’s clothing / M. Kostyshyn // Folk art and ethnography, 1976. - № 6. - P. 59-67. 5. Kostyshyn M. decoration Bukovina folk costume mountainous terrain / M. Kostyshyn // Folk art and ethnography, 1975. - № 4. - P. 54-56. 6. T. Nikolaeva Features folk costumes and embroidery Ukrainian population Carpathian / T. Nikolaeva T. Kara- Vasilyeva // Folk art and ethnography, 1988. - № 3. - S. 67-73. 7. Pathrusim-Carpathian A. New in the life and culture of mountain village / A Pathrusim-Carpathian // Folk art and ethnography, 1959. - № 1. - P. 93-94. 8. Poljanskaya O. Features of population of Transcarpathia clothing / O. Poljanskaya // Folk art and Ethnography, 1976. - № 3. - P. 23-29. 9. A. Poritskyy ethnographic research Carpathians / A Poritskyy // Folk art and Ethnography, 1964. - № 4. - P. 21-24. 10. With Prylypko J. folk clothes Chernivtsi region / J. Prylypko // Folk art and Ethnography, 1960. - № 1. - P. 85-90. 11. Prylypko J. Ukrainian folk costumes as a source for studying the ethnic history / // J. Prylypko Folk art and ethnography, 1971. - № 5. - S. 10-18. 12. L. Shevchenko Ukrainian highlanders Arts / L. Shevchenko // Folk art and Ethnography, 1940. - № 1. - P. 45-51.

Summary We study the traditional shirt as a basic element of the national costume. Area of study - Carpathian region. We consider research papers published in the journal «People’s creativity and etnhrafiya «in the 1939-2012 biennium. Keywords: magazine, studies, national costume, shirt, Carpathian region

Summary Shnurenko T. Research of traditional shirt of region of Carpathians is on the pages of magazine «Folk work and ethnography» Investigating an issue in any field of science, must appeal to periodicals appropriate direction. Among the publications ethnological and etnomystetstvoznavchoho direction: «Kievan antiquity» (Kyiv), «ethnology notebooks» (Lviv), «Soviet эtnohrafyya», «Etnohrafycheskoe Review», «Living Antiquity» (Moscow), the magazine «Folk art and ethnography» (with 2011 – «Folk art and ethnology») mystetstvoznavstva0 Institute of Folklore and Ethnology. MT Rila National Academy of Sciences of Ukraine occupies a prominent place in the study of theory, history and current state of popular culture. We study the traditional shirt, as a main element of the national costume. Area of study – Carpathian region. In the article the scientific papers published in the journal «People’s creativity and etnhrafiya» in 1939-2012 years. The attention on the author’s part uvaaha researchers, those accents that were set in each of them while studying the elements of folk attire, including shirts regional. Exposed sufficiently broad and detailed examples of regional folk costume elements, their characteristic features found in the decoration, analyzes trends in changes embroidery inherent in the Carpathian region in general. The attention is focused on general characteristics, significant in male and female shirts regional folk costumes in different historical periods. Researcher discovers a group of authors who developed the identical subject, however focused on regional specific features of national clothing. Posted a list of these publications. Much attention, stresses the author, in such materials is given the general characteristics of consumer culture some areas of the region, its impact on the identified differences in the symbolism of the images. Based on this retrospective analysis can trace the evolution in traditional cultural practice, especially in the embroidery of one of the original regions of Ukraine. So one could argue that ethnographic regions of the Carpathians, Bukovina, Pokuttya Transcarpathia Boykivshchyna, Lemkivschyna and Huzulschyna in the context of the study of traditional costume and its elements, including the shirt, at different times studied renowned young scientists and ethnographers. The most thorough studies concerned Bukovina. In particular shirt, which paid most attention, studied in detail in the works of J. Kozholyanko, M. Kostyshyn, T. and T. Nikolayeva Kara-Vasilyeva. The problem Carpathian historical and ethnographic community in the Ukrainian ethnographic science is closely connected with the study of ethnic groups of the Ukrainian people, who have long been living in the Carpathians [9; 21]. Studies clothing is of great importance in the overall study of culture, history and art of every nation. For clothing as its main and oldest element - shirt, carry a lot of information, some of which require further study, research and decryption. And in this work is exceptional assistants periodicals, which are constantly updated and zkontsentrovano much valuable information. In the study of traditional Ukrainian shirt so the magazine is «Folk art and ethnography» of the Institute of Art Studies, Folklore and Ethnology. MT Rila National Academy of Sciences of Ukraine. Key words: magazine, research, region, national costume, traditional shirt, Carpathian region, national dress, publication, artistic decoration, differences in structure, trends, retrospective analysis of popular culture.

Summary Shnurenko T.V. The study of traditional shirts of the Carpathian region in the pages journal «Narodna tvorchіst that etnografіya» We study the traditional shirt as a core element of the national costume. Zone studying - Carpathian region. The scientific robots, published in the journal «Narodna tvorchіst etnografіya that «in the years 1939-2012. Keywords: magazine, research, folk costume, chemise (shirt), Carpathian region. Resived 10/29/2014 p.

UDC [745.52: 7.072.2] K.S. Turcan

UKRAINE TEXTILE ART IN THE LITERATURE AS A SUBJECT OF SCIENTIFIC SEARCH One of the pressing problems of development of Ukrainian society is the development of national culture, which, in turn, conceived without deepening relevant theoretical knowledge. Among important sectors of contemporary cultural practice are art textiles - object number art history research. Analysis of the most important works of art in the realm of art Textile devoted to this publication. Among the fundamental works about nature and characteristics of art Textile is a monograph G. Semper «Practical Aesthetics» [7], in which he analyzed the nature of contemporary art, Deep relationships with the culture of the past. The result was the classification of scientific research art forms for the qualities of materials needed to perform the works of art. Are valuable observations regarding the author’s aesthetic properties of various weaving weaves, the formation of relief on fabric using stitches, scars and other decorative elements. Folk carpet - one of the oldest types of crafts. Many researchers interested in this kind of art. Learn about the history of Ukrainian carpet from ancient times is found in the writings of Alexander Beetle [5] J. Zapaska [6] S. Sydorovych [23] I. Gurgula [1]. Special attention to development of manufacturing and craftsmanship provides Beetle A. [5] considering the industrial activity of individual kylymarskyh centers and district workshops (on examples of specific samples of carpets). Author differentiate stages of artistic forms Ukrainian carpets in the pre-October period. Its valuable analysis and artistic features Carpet Ukrainian regions. Soviet carpet issue devoted to the works of the Beetle «Ukrainian Soviet carpet «[4], which considers ornamental and plot- thematic component during almost 60 years (1917-1970 biennium). J. chute prepared and issued a series of educational works of Ukrainian history arts and crafts, including a two-volume «Dictionary craftsart». His work «Ukrainian folk carpet» [6] contains a survey of Ukrainian national carpet weaving from ancient times to the present. On the basis of the museum carpet collections and products kylymarskoho production presented characteristic style variety of different ethnographic regions of Ukraine. Under the leadership of J. Zapaska dissertation H. Kohut study [9] was the first attempt to study Ukrainian «master’s» Carpet XVII-XVIII Art. in the context of the global carpet. C. The work Sydorovych «Artistic fabric of western regions of the USSR» [23] performed A retrospective review of folk weaving in western regions of the USSR, highlighted typical signs weaving techniques on a regional affiliation, made systematization of national art fabrics and by type of household use and ornament folk tissues analyzed for Ukraine appointment, regional characteristics, form and content ornamental motifs. Ukrainian artistic fabrics postwar period (1945-1980 years.) Devoted to the work mentioned A. There Beetle «Modern Ukrainian art fabrics» [3]. Consider their functionality, peculiarities of manufacturing technology, the means of decoration. The book consists of two parts, thematically divided into two technological methods of production of fabrics - machine and hand. In the first of all industrial fabric considered for their intended purpose (clothing and decorative interior), while as in Part II deals with fabrics, hand-made; considered as traditional cell weaving. Particular attention is paid to creative works of artists who worked on the development of new coloring pictures and tissue, improving their structural properties [3]. «People tissue» in the territory of Western Gurgula studied I. [1]. Author identifies typical signs of artistic folk art western regions of Ukraine, formed historically. Other species are considered folk art trends in carpet late XIX - early XX century. Ukrainian folk fabric nineteenth and twentieth centuries. was the object of the research A. Nykorak. And in 2004 published its rich informative monograph thesis on materials [19]. In Section I of the monograph deals with the development of weaving in Ukraine from ancient times to the beginning XXI century. In scientific use the notion of typology woven products nineteenth - mid twentieth century. Clothes, Interior housing and commercial purposes. Defined local artistic features Traditional fabrics for interior housing on territorial affiliation. Done characteristics traditional fabrics used in the customs and rituals. The above work of art aimed at solving the problems of art and style features folk art. But there are textile art artistic phenomenon, related to the Ukrainian cultural tradition and received in the history of Ukrainian art my development, such as gold-weaving (manufacture of decorative and applied silk fabrics, structure which entered obkruchena gold or silver wire silk thread). First gold-weaving as an independent artistic phenomenon in the context of Ukrainian history L. Tsymbal studied art in her thesis carried typology Galicia, of gold products XVIII-XX centuries. based on samples that are stored in the Lviv, Ternopil, Kiev, Warsaw, Krakow, Lodz, Wroclaw, outlined the artistic and stylistic features, of gold Makat zones and taking into account the mutual eastern (Persian and Turkish) models, people weaving traditions of Galicia and European artistic styles in the scientific revolution introduced new archive materials. The upper time limit research covering the twentieth century., Given the appeal to zoloto-weaving tradition in art schools. [24] Knitting as a significant arts Ukraine, first investigated Kozakiewicz A. Territorial beyond its study covers western regions of Ukraine - Zakarpattia, Chernivtsi mountain areas, Ivano-Frankivsk, Lviv, Ternopil, Volyn and Rivne. The author discovered cells knitting production late XIX - the first third of the twentieth century. developed a typology crocheted products found artistic and stylistic features knitted products in the context of fashion and Ukrainian arts and crafts. The chronological boundaries of the study due to the fact that the greatest development of the art of knitting at Western was at the end of the nineteenth and twentieth centuries and third. Despite the enormous artistic achievements in the field of public vybiyky until recently did not exist a special study on this issue. It was first implemented R. Dutka [2]. In its dissertation author defined the artistic features ofUkrainian vybiychanyh tissue XVII - And floor. Twentieth century formed typological identified a number of works, outlined the scope of vybiychanyh tissues. Tapestry long remained one of the most popular areas of modern Ukrainian copyright textiles. The origins and development of the Ukrainian Soviet studied tapestry G. Cusco who made typology revealed the specific aspects of synthesis in the interior. In its thesis examined the theoretical aspect of the tapestry in connection with artistic practice Ukraine In its historical development (of the eighteenth century.). The research is based on large Factual basis - originals and reproductions of tapestries Ukraine, research monographs, articles, archival material, collections of the State Museum of Ukrainian Folk Decorative Art, Lviv Museum of Ukrainian Art, Donetsk, Zaporizhia, Ivano-Frankivsk, Dnepropetrovsk and other museums and archives. Much attention is paid to the creative process that place on reshetylivski art products factory, Glyniany factory «Victory». And analysis of 616 works by the author also shows high enough objectivity findings [14]. Artistic Weaving Lviv second half. The twentieth century. was the subject of scientific interest A. Lukovsky [18], at least on its findings artistic features made from the author acquaintance with the works of Lviv artists. The thesis of the special role it turns artistic education. The features of the formation and direction of the educational process of the department of art Textile LDKDUM them. Ivan Trush and the Department of Textile LNAM. Deals value traditional and of innova- research in the department of textile art LNAM. Investigated development of Lviv art weaving of 1960-1990. [18; 8]. With 20 years of the twentieth century. Ukraine has been extended to a subspecies of textile art as art painting fabrics. The thesis analyzes Pechenyuk G. formation Ukrainian painted textiles, fabric painting vocational school (mid 60s) that has been established a LNAM (then LDIPDM) [20]. Author ornamentation provides differentiation in the system «Artistic fabric.» Issue artistic education mid-nineteenth - mid twentieth century. monograph devoted R. whipped, protected as a doctoral thesis in 2006 covering the territorial limits thesis art education in Ukraine and art education outside the country. The analysis Art and operation of industrial and craft education in Galicia, Bukovina, Transcarpathia, Volyn, eastern regions of Ukraine, higher art schools Kyiv, Kharkiv, Odessa. Formed methodological model of art education and art-craft movement. The author proved that as subdystsypliny art criticism art education has all weekend scientific and theoretical parameters, including the main subject of study is recognized and its methodology. Motivated and have concluded that the historically proven inability and long-term fully functioning art education only on the basis of patronage without State financial support [26; 34]. On the issue of textile art in terms of art education addressed whipped R. [26] M. Turner, Cusco GD [11] Pechenyuk, Shulga S. M Studenets N. Shpyralo-Zapotochna L., G. Stelmashchuk, Lukovsky [16, 17]. Aspects of different types of arts and crafts of the twentieth century. considered in the monograph T. Kara-Vasilyeva and Z. Chegusova «Decorative art of Ukraine of XX century. In search of «big style «[8]. In it we find information on the activities of industrial weaving schools early twentieth century art artisanal organization. Much attention is paid to the analysis of the artistic potential Academy of Arts of Ukraine, led his time B. Krichevsky. The Academy developed projects interiors for different segments of the population. The authors focused on the period’s 30-50h., When Ukraine was a network of higher art education, applied the latest modern principles and methods training. It is about the development of the tapestry as a form of monumental art [8; 70]. One of the leading trends of the 90s - «geometrizm» was to create a sequel search sculpture and figurative compositions [8; 193], which also took appropriate lighting. In the late 50 th century. Europe and the US there was widespread phenomenon, which is art criticism had received different names «new tapestry», «art fabrics», «fiber art» but in domestic art criticism lacked information about textile art of the West. Innovative in this regard was an article Cusco G. «New Textiles: emergence, progress and contours phenomena «[12]. Covering the period end 50 - the end of 80-ies. XX century. The author uses the following terms: monumental textile, three-dimensional form, expression, intuitive search, not «Machinery» technique. So, thesis papers, monographs find a lot of folk and Professional textiles that filled up the treasury of Ukrainian culture.

References 1. Gurgula I. Folk Art Western Ukraine / I. Gurgula. - K. Arts, 1966 - 80 p. 2. Dutka RM Ukrainian vybiychani fabric: Author. Thesis ... candidate. Art. : Special. 17.00.06 - «Decorative and Applied Arts» / RM Dutka. - L., 1995. - 35 p. 3. Beetle AK modern Ukrainian art fabric / AK Beetle. - K .: Science. opinion, 1985. - 114 p. 4. Beetle Ukrainian Soviet AK carpet / AK Beetle. - K., 1973. 5. Beetle AK Ukrainian folk carpet / AK Beetle. - K., 1966. - 151 p. 6. chute JP Ukrainian folk carpet / JP chute. - K., 1973. - 113 p. 7. G. Semper Practical эstetyka / G. Semper. - Moscow: Arts, 1970. - 320 p. 8. Kara-Vasilyeva T. Decorative Art of Ukraine of the twentieth century. In search of «big style «/ Kara-Vasilyeva T., S. Chegusova - Kyiv: Lybid, 2005. - 280 p. 9. Kohut GV Ukrainian «aristocratic» carpets XVII-XVIII centuries. (History and style): Abstract. Thesis ... candidate. Art. : Special. 17.00.06 - «Decorative and Applied Arts» / GV Kohut. - L., 2003. -20 p. 10. Kozakiewicz AR Arts knitting in western Ukraine late XIX - the first third of the twentieth century. (history, typology, art peculiarities cells): Dis ... candidate. Art .: spec. 17.00.06 - «Decorative and Applied Arts» / AR Kozakiewicz. - L., 2006. - 180 p. 11. Cusco GD Department of Textile Lviv National Academy of Arts: formation, development potential / GD Cusco // Bulletin LNAM. Vol. 17. - AL: LNAM, 2006. - P. 25-40. 12. Cusco GD New Textiles: emergence, progress and outlines phenomena / GD Cusco // Art studio. - № 2-3. - L., 1993. - P. 41-46. 13. Cusco GD Art Movement tissue in Ukraine / GD Art // Cusco textiles. Lviv School: Album / Ed. Pechenyuk TG - LA: Polly, 1998. - P. 78-81. 14. Cusco GD Formation and Development Ukrainian Soviet tapestry (ystoryko- Experience Theoretically lighting problems): Abstract. Thesis ... candidate. art. : Special. 17.00.05 - «Dekoratyvnoe and Applied Arts» / GD Cusco. - M., 1987. - 21 p. 15. Cusco GD Modern Ukrainian textiles: Evolution, Experience and Prospects / GD Cusco // Studies of art. - №1. - Lviv, 2009. 16. Lukovsky A. Department of Textile Lviv College of Decorative and Applied Art. I.Trush. Art education and creative problem / O. Lukovsky // Bulletin KSADA. - 2004. - № 7. - S. 42-51. 17. Lukovsky A. Activities Department of Textile LNAM: tradition and of innova- Search / A. Lukovsky // Bulletin KSADA. - 2006. - №12. - P. 94-101. 18. Lukovsky OI Artistic Weaving Lviv second half of the twentieth century. (artistic features, traditions, innovations): Dis. ... Candidate. Art. : Special. 17.00.06 - «Decorative and Applied Arts» / AI Lukovsky. - L., 2007. - 161 p. 19. Nykorak OI Ukrainian folk fabric nineteenth and twentieth centuries. Typology, localization, art features / AI Nykorak. - L., 2004. - 584 p. 20. Pechenyuk TG painting fabrics in Ukraine (20 - early 90-ies. XX century.): Dis. ... Candidate. Art. : spec. 17.00.06 - «Decorative and Applied Arts» / TG Pechenyuk. - L., 1996. 21. Pechenyuk TG Current Trends // painting on fabric textile art. Lviv school: album / Ed. Pechenyuk TG - LA: Polly, 1998. - P. 74-77. 22. T. Pechenyuk Collage of textiles, from engineering to operational thinking / T. Pechenyuk // Bulletin LAM. Vol. 19. - AL: LNAM. 2008 - S. 80-87. 23. Sydorovych SY Artistic fabric of western regions of the USSR / SY Sydorovych. - K .: Science. opinion, 1979. - 152 p. 24. Tsymbala LI zolototkatstva Galicia XVIII - the first third of the twentieth century. (History, typology, artistic and stylistic features): Abstract. Thesis ... candidate. Art. : Special. 17.00.06 - «Ornamental and crafts »/ LI Tsymbal. - L., 2003. - 19 p. 25. R. whipped Art Education as subdystsyplina of Art / R whipped // Bulletin LNAM. - Vol. 15 - L., 2004. - P. 58-69. 26. whipped R. Folk traditions of carpet weaving in Galicia and artistic education Industrial end XIX - early XX century. / R whipped // Dialogue of Cultures: Ukraine in the global context. Philosophy Education: Coll. Science. pr. - LD: World, 1999. - Vol. 4. - S.181-189. 27. whipped RT Dictionary of artists-teachers of Ukraine and Ukraine in the world 1850-1950 / RT whipped. - L., Eng. Technology, 2002. - 143 p. 28. RT whipped Art Education in Ukraine in mid-nineteenth - mid-twentieth century .: structuring, methodology artistic position / RT whipped. - L., Eng. Technology, 2005. - 526 p. Shulga SN 29. Loom cell in Clay / SN Shulga // art textiles. Lviv school. - LA: Polly, 1998. - P. 24-35.

Summary Among the important sectors of contemporary cultural practice are art textiles. Types of art Textile various time periods - contemporary folk or were the subject of a considerable number of works of art. Analysis of the most important works in the field of textile art dedicated this article. Keywords: art textiles, weaving, art education, art, research.

Summary Tsurkan K. Research of artistic Text. of Ukraine in the special literature as the article of scientific search Among the important sectors of contemporary cultural practice are art textiles. Types of textile art different time periods – contemporary folk or were the subject of a considerable number of art works. Analysis of the most important works in the field of textile art, including largely dissertation research is devoted to this article. The author focuses on basic research, dedicated to the ancient crafts in Ukraine, H. Zempera work; which revealed the nature of contemporary art, in-depth relationship with the culture of the past. The specificity of carpet weaving through the prism of national research A. Zhuka, Ya. Zapaska, S. Sydorovych, I. Hurhula. And consider a number of studies in which Ukrainian folk fabric in general became the subject of a special analysis. In particular, dissertations and monographs O. Nykorak, the subject of scientific analysis in which is the development of weaving in Ukraine from its inception and early twenty-first century; L. Tsymbala this work, which focuses on gold weaving as an independent artistic phenomenon. Discovered typology, of gold products Galicia eighteenth and twentieth centuries based on samples that are stored in the museums of Lviv, Ternopil, Kyiv, Warsaw, Krakow, Lodz, Wroclaw, outlined the artistic and stylistic features, of gold zones with regard to mutual eastern (Persian and Turkish) models, people weaving traditions of Galicia and European artistic styles. The origins and development of the Ukrainian Soviet studied tapestry H. Cusco, also made its typology and revealed the specific aspects of synthesis in the interior. Consider other monographs and dissertations studies that Ukrainian is the subject of a special fabric analysis. The author pays particular attention to art education in this context, analyzing R.Shmahala monographic study, which analyzed the functioning of artistic and industrial and craft education in Galicia, Bukovina, Transcarpathia, Volyn, Eastern Ukraine, higher artistic schools in Kyiv, Kharkiv, Odessa. Formed methodological model of art education and art-craft movement. The author proved that as subdystsypliny art criticism art education has all the original scientific and theoretical parameters, including the main subject of study is recognized and its methodology. Motivated and have concluded that the historically proven inability to long-term and proper functioning of artistic education only on the basis of patronage without adequate financial support from the state. One of the leading trends of the 90-s – «geometrizm» continuation of the search was to create sculpture and figurative compositions also received appropriate coverage in the literature. In the late 50-ies of XX century in Europe and the United States emerged widespread phenomenon, in art criticism had received different names «new tapestry», «art fabrics», «fiber art», but in domestic art criticism lacked information about textile art of the West. Innovative in this regard was an article Cusco G. «New Textiles: emergence, progress and outlines phenomena» [12]. Covering the period end 50 – the end of the 80 th century. The author uses the following terms: textiles monumental, three-dimensional form, expression, intuitive search, not «Machinery» technique. Key words: art textiles, weaving, art education, art, research, types of textile art, gold weaving, native cultural practices, carpet, typology, Lviv National Academy of Arts.

Annotation Turcan E.S. Study Textile Art of Ukraine in the literature as a subject of scientific interest Among the important areas of modern cultural practices considered art textiles. Types of art textiles of different time periods folk or contemporary objects were a significant number of art scientific papers. Analysis of important scientific works in the textile industry of art devoted Danae article. Keywords: art textiles, weaving, art education, art history, research. Resived 07/10/2014 p.

C. Gdansk

AS AGENT VYRAZHALNOSTI ORNAMENTATION IN CLASSICAL MUSIC CONCERT FOR CLARINET

There has been considerable invigorating evolutionary processes that barely touched almost every sphere of human activity. In such circumstances, another attempt to update the trends of thought in art criticism are naturally relevant: it seems at present to researchers unprecedented horizons opened reflection and rethinking of many phenomena that lie at the crossroads of cultures and cultural traditions. Since the scope of music the focus of research attention appeared and this original phenomenon of improvisation, which, by definition, can not be fixing the one hand and yet, current folios and sheet music notation cadences and specific ornamental and decorative elements of melodic variation in solo and ensemble playing. The theme of the article selected one of the phenomena of music improvisation. This - the ornamentation on the one hand, it is a form of improvisation, on the other - the discovery of musical rhetorical expression, emotional and imaginative content, designated in writing by certain characters. The novelty of this research perspective is related to the theory of musical performance that explores ways to update the means of musical expression in contemporary performing arts. Most clearly reveals their colorful ornaments and semantic features in the folklore of many nations, in music of the Baroque and Neo-Baroque, numerous academic areas of contemporary compositions as well as jazz and folk in the direction of popular music. The phenomenon of musical ornaments (from the Latin. Ornamentum - decoration) sufficiently explored in the scientific literature of past centuries: so, among the research literature is well known decoding table ornaments in baroque music, composed by J. A. Bach (Bach composer’s father) and labor L. Mozart (such as his «Violin School» - «Violinschule», 1756) [9]. The purpose of the article - focus on improvisation on ornamental elements with meaning and expression in the text of the act in concert for clarinet works as a rhetorical formulas. Ukrainian phenomenon of improvisation researcher Yu Glushchenko defines it as «one of the main categories in the performing arts» [7; 3], «mobile form (art - SG) with sub’yektyvno- model of emotional perception of reality» and compares it with the classic type of - «stable art form of objective-rational model perception of reality and penchant for canonization structures» [6; 5-6] In particular, it proposes to analyze the improvisation category in some cases together with its dialectical opposite - interpretation of structures with musical notes, because there are always improvisations «signs intonation interpretation of the» bloc «individual memory vykonavtsya- improviser ...» [6; 5-6]. In our opinion, here we are talking about tonal unity with musical notes and free improviser Executive of linked text that forms the features of shape, texture and its realization performer. In particular, such dyhotomichnist characterized as form and ornamentation «Textual improvisation,» which is found in passages melodyzatsiyi original intonational formulas - both vertically and horizontally - search for variability in the repetition of melodic presentation topics. As you know, ornaments determined in music for the melody phrases with sounds of short duration (passages, rants, melisms, figuration, fioretury, coloratura, glosses etc.) That adorn the main melodic line, as well as enhance its expressiveness, thus demonstrating the virtuosity of the artist . Two types of ornaments used in the performing practice: a / designated notes mandatory ornaments (hrupetto, Mordent, Grace note, trill, etc.) 1 and b / improvisational ornamentation (coloratura, roulades, trills, etc.) chosen to taste and discretion artist. Much attention artists and theorists of musical performance draws melizmatyka - the most common field of decorative embellishment melody line that borders on onomatopoeia. Since the emergence of the sphere of musical decoration (Mordent known from the XV-XVI centuries.), And in particular. in the Baroque era (XVII-XVIII c.), when melisms become one of the most popular instrumental music melodic formulas depend on the performance of their musical context. Contemporary music also actively uses melizmatyku; yes, pop music, particularly jazz, common melisms borrowed from classical muzyky2. Universal M. Beyshlaha work on the theory of ornaments [5] gives a lengthy definition of the German researcher Georg von Dadelsenom: «... ornaments (Ger .: Verzierungen, Manieren, Ornamente: Fiorette, Fioriture, Abbelimenti; fr .: Agréments, Broderies; English .: Graces, Ornaments) called formulopodibni harping coloring and melodic sound that indicated in musical scores .... «. Distinguishing «initial» jewelry (Grace note, sold, Schleifer, Mordent, praltriller, shneller), «following» (nahshlah, hrupeto after the notes) and «filling» (trill, hrupeto, tremolo, vibrato) and «arpeggios» belonging to both single notes and chords to sound, he explains that these forms are often combined together. «Ornaments are common to all cultures improvisational music with musical notes or fihuratsiy and variations of a given melody. In this sense they can be regarded as major figures of variation and improvisation techniques, gradually transformed into frozen and formula; they are classified as fixed assets, which formed any instrumental or vocal melodies (my translation - S.G) «[5; 303]. That is, this quotation emphasizes the idea that the ornaments are «frozen» form of improvisation played in the musical text. The theme of the article selected one of the phenomena of music improvisation. This - the ornamentation on the one hand, it is a form of improvisation, on the other - the discovery of musical rhetorical expression, emotional and imaginative content, designated in writing by certain characters. The novelty of this research perspective is related to the theory of musical performance that explores ways to update the means of musical expression in contemporary performing arts. Most clearly reveals their colorful ornaments and semantic features in the folklore of many nations, in music of the Baroque and Neo-Baroque, numerous academic areas of contemporary compositions as well as jazz and folk in the direction of popular music. The phenomenon of musical ornaments (from the Latin. Ornamentum - decoration) sufficiently explored in the scientific literature of past centuries: so, among the research literature is well known decoding table ornaments in baroque music, composed by J. A. Bach (Bach composer’s father) and labor L. Mozart (such as his «Violin School» - «Violinschule», 1756) [9]. The purpose of the article - focus on improvisation on ornamental elements with meaning and expression in the text of the act in concert for clarinet works as a rhetorical formulas. Ukrainian phenomenon of improvisation researcher Yu Glushchenko defines it as «one of the main categories in the performing arts» [7; 3], «mobile form (art - S.G) with sub’yektyvno- model of emotional perception of reality» and compares it with the classic type of - «stable art form of objective-rational model perception of reality and penchant for canonization structures» [6; 5-6] In particular, it proposes to analyze the improvisation category in some cases together with its dialectical opposite - interpretation of structures with musical notes, because there are always improvisations «signs intonation interpretation of the» bloc «individual memory vykonavtsya- improviser ...» [6; 5-6]. In our opinion, here we are talking about tonal unity with musical notes and free improviser Executive of linked text that forms the features of shape, texture and its realization performer. In particular, such dyhotomichnist characterized as form and ornamentation «Textual improvisation,» which is found in passages melodyzatsiyi original intonational formulas - both vertically and horizontally - search for variability in the repetition of melodic presentation topics. As you know, ornaments determined in music for the melody phrases with sounds of short duration (passages, rants, melisms, figuration, fioretury, coloratura, glosses etc.) That adorn the main melodic line, as well as enhance its expressiveness, thus demonstrating the virtuosity of the artist . Two types of ornaments used in the performing practice: a / designated notes mandatory ornaments (hrupetto, Mordent, Grace note, trill, etc.) 1 and b / improvisational ornamentation (coloratura, roulades, trills, etc.) chosen to taste and discretion artist. Much attention artists and theorists of musical performance draws melizmatyka - the most common field of decorative embellishment melody line that borders on onomatopoeia. Since the emergence of the sphere of musical decoration (Mordent known from the XV-XVI centuries.), And in particular. in the Baroque era (XVII-XVIII c.), when melisms become one of the most popular instrumental music melodic formulas depend on the performance of their musical context. Contemporary music also actively uses melizmatyku; yes, pop music, particularly jazz, common melisms borrowed from classical muzyky2. Universal M. Beyshlaha work on the theory of ornaments [5] gives a lengthy definition of the German researcher Georg von Dadelsenom: «... ornaments (Ger .: Verzierungen, Manieren, Ornamente: Fiorette, Fioriture, Abbelimenti; fr .: Agréments, Broderies; English .: Graces, Ornaments) called formulopodibni harping coloring and melodic sound that indicated in musical scores .... «. Distinguishing «initial» jewelry (Grace note, sold, Schleifer, Mordent, praltriller, shneller), «following» (nahshlah, hrupeto after the notes) and «filling» (trill, hrupeto, tremolo, vibrato) and «arpeggios» belonging to both single notes and chords to sound, he explains that these forms are often combined together. «Ornaments are common to all cultures improvisational music with musical notes or fihuratsiy and variations of a given melody. In this sense they can be regarded as major figures of variation and improvisation techniques, gradually transformed into frozen and formula; they are classified as fixed assets, which formed any instrumental or vocal melodies (my translation - SG) «[5; 303]. That is, this quotation emphasizes the idea that the ornaments are «frozen» form of improvisation played in the musical text. In numerous ethnological studies on the theory of ornamentation, particularly for its folk pohodzhennya3, attention is drawn to the poetry of this phenomenon as a natural form of musical thinking performers of ethnic traditions, mythical and poetical basis ornamentation emphasizes its organic relationship with the eternal existence of categories and laws of nature. It is noted that during the evolution of musical tools, ornamentation notes established impressive type - as a metro-rhythmic and intonation tune-respect, crystallizes system typological criteria obrazno- art area intonation [2; 96]. Moreover, the researchers note folklore ornamentation of transparatyvnu property assimilation and transformation inshokulturnyh elements tendency to Oriental tradition mikromelizmatychnoho ornamentation, indicating its ancient origins (the Aryan-Iranian and Turkic-valahske) [2; 96-97] and its continued existence as a trend onomatopoeia instrumental sounds of nature. In studies of M. Druskin [7] and A. Alekseyeva [1] refers to the active use throughout peredklasychnoho melizmatyky periodu4 end which was noticeable that most fihuratsiy composed of various ornamental formulas; immediately noted ornamentation function not only as a purely external decorations melody, but as an internal resource enerhetyko- melodic, tightly bound to the basics intonatsiynosti work. In the above tutorial with ornaments M. Beyshlaha monitored detection ornamentation is as deep properties of music (improvizatsiynosti - SG) as an example genesis melizmatychnyh specific symbols from ancient times - the end of the nineteenth century. and review the specifics of their implementation in different periods and in various national schools. It noted imitation modern improviser implementing diminutsiyiyi ancient formulas, their formal invariance [5; 300] 5. It is known that in the XVIII century. In the heyday of the musical arts, skill in improvisation takes on new forms. It becomes mandatory norm performance, inspired by the listening needs. Accordingly, improvisation while performing other people’s works had a certain function and place in the composition; Frequently, she was given cadence. Thus, according to the researcher in tune R. Laja «coloratura or melizmatyka is the product formation melodies that applies only architectonic responsible persons, and primarily applies to embellish musical endings ... bold, underline perhaps most acute - such always and everywhere the main objective of ornamental formulas «[5; 303]. Great value ornamental improvisation as a form of (musical and expressive) thinking has become in clavier art of the time. It developed in three directions: ornamentation of melody, rhythm and texture (eg in F.Kuperena) [7; 177]. In this century, the leading trend in music is communication and improvizatsiynosti kompozytsiynosti: «... that still lived in improvisation practice .... in the next century is set to one of the main compositional factors that determined the structure of the melody of Bach and his predecessors» 6 [1; 64]. The textbook A. Alekseyeva mentioned most outstanding improvisers that era, and highlights the fact that the most popular of them all had a range of improvisational form7. Turning to the analysis of expressive possibilities ornaments and rhetoric in the classical concert works for clarinet note that spikes interest in performing the clarinet defined by two periods: the first one in the second half of the XVIII- XIX centuries., The second - the first half of the XX century. They are united in particular the key role of improvisation, which clearly manifested personality and creative potential of the artist. The famous English traveler, art critic Charles Bjorn in his «Diary ...» after the travel across Europe (England, France, Switzerland, Italy, Belgium, Czech Republic), created in the 1770’s, always mention the art of improvisation in connection with the practice of the use of wind instruments, including the clarinet [4; 24]. Indicative extremely wide range of use of the music (from the street to the temple, the military march to oratorios, from amateur bands to become professional groups). Bjorn From the evidence it is clear that improvisation often acts only possible form of existence-musical work (spontaneous songs in pubs, on the street), and sometimes it is specially organized part of steady genre (like concert for solo instrument with orchestra). In other words, in the second half of the XVIII century. there was a range of genres - from solo to orchestral - which had a particular manifestation of spiritual improvisation. Its apex is the most developed and important musical embodiment as at the time it was performed a solo concert. Regarding expressive ornamentation and its properties in the concert for clarinet works of this period, the researchers clearly indicate the impact of vocal (coloratura) ornaments. Standard notation melisms understanding of the role was a time when improvisation was the most popular form of music, notation composers and performers provided the opportunity to read different vocal detention, variations of pronunciation. It seemed that thus increases vitality and naturalness of musical interpretation [3; 367]. Meanwhile ornaments and influence on the meaning and expressiveness of musical expression: the highest degree of virtuosity masterly performer was improvizuvannya fragments or even a work on the topic. The widespread use of the concept in its ornamentation included both melodic and rhythmic, tempo and dynamic gradations, as well as changes in the duration and various types of articulation. Thus, implementation becomes «decorated». «Decorating» perform certain work, according to J. Quantz, meant vydozminyaty, surprise, amaze and even deceive [5; 306]. Many authors wrote multistage acceleration, which emphasized the meaning of the repetition decoration music [5; 307]. As we approach the end of baroque, decoration became richer; change parts of concert works - ornamented and conventional - itself created a color, Noting case ornamentation repetition intervals [5; 308]. As for performance features ornamental figures, we note the existence of polar approaches the issue of deciphering melisms record: on the one hand, there were so. Called. «Musicians dogma» that once and learned a number of basic rules of jewelry and read «prohibited», «taboo» requirements for use in performing, teaching and editorial practice. There was a completely different approach - diametrically opposite attitude to ornaments: no limits subyektyvistska freedom. One of the almost obligatory improvisational techniques, which turned the repetition thematic material, was variatsiynist. Karl Reinecke gives an example of creativity V.A.Motsart that writing about a topic every time it acted differently, decorating variational changes melodyky8 [3; 191]. By repeating rhythmic motif over two times, Mozart, probably foresaw ornamental enriching his coloring. Invented at the turn of XVII-XVIII centuries. clarinet was still structurally flawed much about modern look and its final formation, particularly through active activity vykonavtsiv- clarinetists, accounted for the second half of the eighteenth - early. XIX century. It was a period characterized by a gradual transition sphere kadentsiynyh theories of improvisation use written to the field of recording. Important, in our view, to illustrate typical for this timeof compositional techniques that are based on the method of improvisational variation tematyzmu main work is Concerto for clarinet and orchestra J. B. Vanhalya (real name - Jan Krshtitel), Czech composer and music teacher, which the researchers attributed to representatives of the school manheymtsiv9. We offer own way of identifying v. BC. «Integrated» («frozen») ornamentation: the lines of a certain melodic figure compare tryvalisnu remoteness semantic elements in terms of the overall function of individual linguistic components, ie find the original contrast (or mapping) in one cycle chvertok and shistnadtsyatok in oscillatory type melodic figure and solutions’ Liabilities in the first tact next fate (for example, in the lead role v.1, orchestral exposition). Concert Vanhalya terms of use copyright improvizational variational elements (or «frozen» / «integrated» ornamentation) shows their presence early orchestral exposition of the first bars of the main parties (tt.1, 3, 5, 6, 8, 9) . Melodic line based on sound general tonic triads that sometimes (vol. 11, 12, 17, 18) is set to the establishment of a melodic, contrasting to the changing nature sekventnyh reps binding party orchestral exposition (13-16 vols.). As for small-scale orchestral exposition rozrobkovoho material (10 cycles), we can assume that the author tried to base this chapter principle of contrast comparison. Home Party soloist starts rising in leaps (with zatakt to t.50), followed by partial filling Gamo similar downward movement within the octave range. Similar Quinto Quarto, «jumping» generate an analogy with the sound of hunting horns or other ethnic woodwinds horyan10. The next block of three main components party, based mainly on the construction of ornamental type (vol. 52, 53, 54). Note repetition and availability variatsiynosti elements in this fragment at the very beginning a solo entry. The use of certain «gallant phrases» solo at the end of the main parties (the rhythm of two hex-eight, vols. 56-58), which has appeared in rozrobkoviy of orchestral exposition (vol. 30, 32), and the parties were in the process of soloist deployment, said the probable author attempts to expand the genre and stylistic palette of melodic work: for example, these are the beginning by the party (zatakt to v. 62), «masked» repetition (vol. 69, 70), and a variable harping second motif (v. 74) in developing (vol. 96, 97) and recapitulation (vol. 117, 130) Note that these melodic phrases - literal and variable - occur in concert klarnetovomu F. Kramarzha (see. Vols. 59, 60, 72, 73-74, 76, 77 Concert Vanhalya IB). Sequential melodic solo presentation of the material in the development of the first part (vols. 101-111) combined with solo melodic repetition of certain phrases (vol. 112, 113, 114) has the effect of background, waiting for a response, which express a soloist during fermatnoyi stop motion ( v. 116). After a short binding the active construction begins reprise grace notes (to zatakt v. 117), where the main party material changed to melodic and rhythmic levels by introducing a ‘gallant’ turnover (described above) at the beginning of reprise (v. 117) . Home party a bit extended, despite preserving the overall structure of the exhibition. The most significant manifestation improvizatsiynosti and ornamental principles provided for in Cadence Concerto; in general, it shows the author’s attitude to free material and structure, but it has three conventional parts. It is interesting that written much later (probably even in the early twentieth century.) It specifically combines different stylistic norms. «Alien», editorial text cadences to klarnetovyh concert was a natural phenomenon, which, on the one hand, no evidence of vidkrystalizovanyy music into the concert, and the other kind of approbation of this genre in the repertoire of several generations. It is interesting to observe how the composer into cadence shows the change in attitude to the concert, «exposure time». In different historical time in the works of various genres, there have been some form that included the presentation of improvisation; in this sense, the cadence of the first part of the concert as part of the sonata allegro form, attracted the attention of soloists, giving them the opportunity to display their performance skills. Cadence - energy clot where the artist’s ability to organize the clot rapidly, showed his maturity - personal and musical virtuoznu11. Historical conditionality transition or transformation support (ornamental) Note Text to primary status significantly influenced melodic-rhythmic pattern of certain phrases, which gradually acquired features of rhetorical figures (including a klarnetoviy music). The features of the individual composer’s thinking began to show itself in a variety of selection tools of improvisation - as editors and authors cadences: the prevalence of the smallest elements of decoration ornaments (forshlaґy, Mordent) - to a deployed (kadentsiyni passages and inserts) usually associated with klarnetovoyu performing specific example, of all possible means of expression chosen that comfortable with the position fingerings, case, speakers, while using various rules considered improvisational elements and their application to specific features of the original work. And yet, compared notation (with all the advantages of saving improvised text) and improvisation, according to F. Busoni was similar to the comparison of the portrait and a live model [8]. Notices 1 melisms (from the Greek. Melos - the song, the melody) - small melodic ornaments and their explanations, one of oramentyky kinds of music. By melisms include: hrupeto (IT. Gruppetto - small group) - type melisms, performance in a relatively fast pace four notes in a certain order, according to the recording system; Mordent (IT. mordente, letters. - sharp, pungent, biting) - type melisms, the rapid alternation of sound basic and auxiliary (second above or below the head). All Mordent run through the length of the main note. Mordent (as vibrato, and trill) is designated in writing peculiar wavy line. There Mordent following types: simple, crossed, double top, triple; trill, TRIL (from IT. trillare - jingle, dzelenchaty) - type melisms, rapid repeated alternation of two adjacent (remote a small or a large second) sounds. In some works there is a large vocal trill, where the distance between sounds a tone can prevail; trill in instrumental works, in which the distance between the sound greater than the tone usually called tremolo; Grace note (from German. Vorschlag - previous shot) - One or more small sounds performed by reducing the length of one of said neighboring not.rozriznyayut short and long Grace note [10]. 2 In particular jazz music characterized lip trill (lip trill), wide lip trill (free lip trill with large intervals), shace (Mordent with a strong vibrato), who performed at the end of phrases trumpet, trombone, pipe band and vocalists. 3 How, for example, in scientific works of Ukrainian researchers Grits S., M. Haya, V. Atamanchuk, A. Bout. 4 A. Alekseyeva particular in case of ornamentation in the works of H. Purcell, F. Couperin, K. Dakena - including to Haydn and Mozart [1; 96]. 5 Several researchers noted simplistic attitude of many trainers and performers to the problem of ornamentation, taking into account, above all, its external decorative function - jewelry processing basic melodic material. Aptly says it M.Badura-Skoda «origin of the term» melisms «(from Greek melisma - melody, singing), long forgotten ...... all this terminology and writing small notes and ornaments badges ... lead to the fact that even in Mozart’s music performer melisms consider as something external, decorating, rozfarbovuyuche, decorative ... «. Truly is the role of jewelry can be understood only by recognizing their latest features: the words FE Bach «to reveal (or explain-erklären) content (ringtones - SG)» [3; 350]. 6 This communication composer and nekompozytorskoyi practices continued, a model by the end of the XVIII century. 7 «Bach (meaning Johann Sebastian) concluded from her works of various types - from free prelude to the most complex fugues.» Almost the same Alekseev shows and in relation to Handel [1; 172]. Their successors (Philip Emmanuel Bach, Jan Ladislav Dusyk etc.). Enjoying so. called. «Free fantasy» [1; 92]; [1; 108]. Improvisation was a must-so-called. «Musical Academies» [1; 105-106]. 8 On the specifics of Mozart variance: «Getting the theme he leaves unchanged and rarely makes any substantial options before the third step. And in further discussion threads he also keeps in unchanged goals cycles «[3; 193]. 9 J. B. Vanhal (1739-1813 gg.) Engaged in teaching piano in Vienna. Being in the service court musician in Prince Erdodi lived in Hungary and Croatia; folk music origins of these countries had an undeniable influence on his work. 10 We assume that these melodic patterns and reproduce the characteristic timbre of the clarinet then, with considering its structural and acoustic features. 11 Creation cadences to klarnetovyh concerts became popular in the twentieth century .; so its time F. Busoni wrote the famous cadence to the Brahms Violin Concerto.

References 1. Alekseev A. History fortepyannoho art: Textbook. Ch.I-II. - 2nd ed., Ext. / A. Alekseev, Alexander Alekseev. - M. Music, 1988. - 415 p. 2. Atamanchuk V. Ornamentation in the musical traditions of Hutsul instrumental / V. // Atamanchuk Folklore notebooks / Modernity. - K.: IMFE, 2009. - P. 95-105. 3. Badura-Skoda interpretation of Mozart E. / E. Badura-Skoda. - M. Music, 1972. - 376 p. 4. Bёrny Charles Muzыkalnыe puteshestvyya. Diary puteshestvennyka, 1772 g in Belgium, Austria, Czech Republic, Germany and Holland / Ch Bern. - Moscow; LA Music, 1962. - 290 p. 5. Beyshlah A. Ornamentation in Music / A. Beyshlah. - M. Music, 1978. - 320 p. 6. Glushchenko YP Ymprovyzatsyya As musical yspolnytelstva Category: Dis. ... Candidate. art. / YP Glushchenko. - K., 1991. - 140 p. 7. M. Klavyrnaya Music Druskyn XVI-XVIII centuries. / M. Druskyn. - Leningrad: Gos. muses. dat., 1960. - 284 p. 8. Lyberman EJ Creative Business pyanysta with copyright text / EJ Lyberman. - Moscow: Music, 1988. - 235 p. 9. Rymanów Mordent AG / AG // Rymanów Muzыkalnыy dictionary [Lane. s Nam. BP Jurgenson]. - Moscow: Direct Media Pablyshynh, 2008. 10. Yutsevych YY Music: slov.-argument. / YY Yutsevych. - T.: «Teach. Vol. - Bogdan », 2003. - 352 p.

Summary An attempt to highlight the phenomenon as a means of ornamentation improvisation that takes place in the classical concert for clarinet. Ornamentation was not only melodic embellishment, but also gained a certain importance sensoutvoryuyuchoho product in certain sections of the form. Its effect is most clearly seen in cadence classical concerts where ornaments helps enhance creative possibilities of the artist, his personal expression. Tags: clarinet, ornaments, classical concert melisms, cadence, improvisation.

Summary Gdanski S. Ornament as the impressive means in classical concerts for clarinet The article is an attempt to highlight the phenomenon as a means of ornamentation improvisation that takes place in the classical concert for clarinet. Ornamentation was not only melodic embellishment, but also gained a certain importance sensoutvoryuyuchoho product in certain sections of the form. Its effect is most clearly seen in cadence classical concerts where ornaments helps enhance creative possibilities of the artist, his personal expression. Most clearly reveals their colorful ornaments and semantic features in the folklore of many nations, in music of the Baroque and Neo-Baroque, numerous academic areas of contemporary compositions as well as jazz and folk in the direction of popular music. The phenomenon of musical ornaments (from the Latin. Ornamentum – decoration) sufficiently explored in the scientific literature of past centuries. As for performance features ornamental figures, we note the existence of polar approaches the issue of deciphering melisms record: on the one hand, there were so. Called. «Musicians dogma» that once and learned a number of basic rules of jewelry and read «prohibited», «taboo» requirements for use in performing, teaching and editorial practice. There was a completely different approach – diametrically opposite attitude to ornaments: no limits subyektyvistska freedom. One of the almost obligatory improvisational techniques, which turned the repetition thematic material, was variatsiynist. The article offers own way of identifying v. BC. «Integrated» («frozen») ornamentation: the lines of a certain melodic figure compare tryvalisnu remoteness semantic elements in terms of the overall function of individual linguistic components, ie find the original contrast (or mapping) in one cycle chvertok and shistnadtsyatok in oscillatory type melodic figure and solutions’ Liabilities in the first tact next fate (for example, in the lead role v. 1, orchestral exposition). This method is demonstrated by the example of consideration of the author of a musical work for clarinet and number B. Vanhelya, F. Kramarzha. Historical conditionality transition or transformation support (ornamental) Note Text to primary status significantly influenced melodic-rhythmic pattern of certain phrases, which gradually acquired features of rhetorical figures (in t. Ch. Klarnetoviy and music). The features of the individual composer’s thinking began to show itself in a variety of selection tools of improvisation – as editors and authors cadences: the prevalence of the smallest elements of decoration ornaments (grace notes, Mordent) – to a deployed (kadentsiyni passages and inserts) usually associated with klarnetovoyu performing specific example, of all possible means of expression chosen that comfortable with the position fingerings, case, speakers, while using various rules considered improvisational elements and their application to specific features of the original work. And yet, compared notation (with all the advantages of saving improvised text) and improvisation, according to F. Busoni was similar to comparing a living portrait and model, emphasizes the author. Key words: clarinet, ornaments, classical concert melisms, cadence, improvisation, music, engineering decoration piece of music, instrumental music, variation, research, construction of musical text styolistyka music, creativity, Doers.

Annotation Gdansk S. Ornamentation as a means of expression in a classical music concert for clarinet Ornamentation considered as an expressive form of improvisation, which takes place in a classical concert for clarinet. At this time, ornamentation was not only an ornament; its significance lay in a certain sense-funds involved in certain sections of the form. The most expressive ornamentation effect observed in the cadences of classical concerts, where it helps to activate the creative possibilities of the performer, his personal expression. Tags: clarinet, ornamentation, classical concert, melisms cadence improvisation. Nadіyshla to redaktsії 10/11/2014 p.

UDC 78.087.68 (477), 78.01 H. Sienkiewicz

THEORETICAL AND METHODOLOGICAL PRINCIPLES OF SOCIO-CULTURAL SYSTEMATIZATION OF FUNCTIONS OF UKRAINIAN CHORAL ART

The issue features art and culture in general often raised in the literature - the works on aesthetics or cultural studies, especially in today’s editions. This is the author’s desire to bring the various branches of human knowledge, life and activity, show their interdependence. Typically, the amount and the semantic content of such functions varies in different versions, but some components inherent stability. Under certain classifications (eg, authorship Levchuk L., M. Zakovycha, J. Chornenka, handbook, ed. I. Tyurmenko) the most common cognitive, educational, compensatory, prognostic, relaxation, therapeutic, znakovo-communications, games, regulative, integrative and more. And it is natural. For these and other functions are in the community and to society, every artifact or a product intended for the impact on recipients a means of communication, brings a certain message and is attitude. Since the functionality is defined as serving some purpose, the socio-cultural function of art in general or industry: First, determine the specific role of the arts to society and its culture; second, helping to attract individuals to the spiritual and aesthetic achievements of the ethnic group, nation, humanity; thirdly, providing kontynualnist and the tradition, the relationship eras of national life in historical context; Fourth, projecting moral perspective and aesthetic landscape. First built «functional interpretation of choral culture» A. Laschenko. However, studies written in Soviet times, could not go into a purely national dimensions of Ukrainian choral art. A. Bench-Shokalo in the work of Ukrainian choral singing drew the most attention on the function of the chorus in the traditional ritual culture, considered the operation of various types of choirs and singled out «service function» that was assigned to the Ukrainian choral art in the USSR. The writings of L. Parkhomenko, Husarchuk T., L. Kyyanovskoyi, M. Rzhevskij, MA Antonovich, Maichyk A., I. Bermes and others. contains the definition of certain functions of choral activities. Obviously, the Ukrainian choral art as one of the oldest and best presentative national branches of artistic culture, has a complex social and cultural functions. Since this issue is still not specifically studied, the proposed article is relevant. Its purpose is to highlight the theoretical and methodological principles of study taxonomy of these functions. In terms of effectiveness, impact on ethnic identity Ukrainian choral art has no equal in comparison with other types of music. «Culturological approach, based on the relationship of national culture and national consciousness, allows fruitful to analyze various events, processes and phenomena associated with national character being certain people. The national consciousness reflects the way the national community and largely determines its «[8; 77]. Deep ethnocultural origins and the closest link with people’s age aspirations for freedom and independence stipulate that the socio-cultural features of Ukrainian choral activity may be determined criterion «teleology contribution» to the process of crystallization of national consciousness - Nation Building and natsiyestverdzhennya. The reasons for this approach are primarily in etnomentalniy plane. Therefore, the study of the nature of social and cultural functions involved Choral Art Studios Ukrainian philosophy, culture, ethnopsychologist (Gogol, P. Kulish, D. Chizhevsky, V. Yaniv Mirchuk, A. Kulchytsky, J. Linden, BA Zimbalist, I . Yarema, Onatskyy E. et al.), which deals with omens Ukrainian soul and socio-psychological predisposition Ukrainian. Aggregation of these judgments and their extrapolation allowed expression in the sphere of choral art, to find the connecting links between their content and its essence. In particular, the provisions of cordocentrism, sensitivity, aesthetics, introvertyzm, artistic preferences, innate religiosity, historically due to the need of small social groups, communities, etc., directly related to the Ukrainian choral sympathies. With the developments of modern Ukrainian national mentality of researchers (S. Krimsky, W. Temple, M. Popovic, N. Kovalchuk, I. Fox, A. Nelga A. bulls and others.) Conclude that there is still no consensus on the nature and core mentality. However, scientists agree that ethnic mentality inherent in more constant than variable signs. They are formed under the influence of historical and political circumstances, climatic and geo-cultural environment, economic and cultural type of work, family structure and more. If arhetypnist is hidden «soul-cultural reality» (O. Nelga), the mentality is an external self-expression ethnicity. To study the social and cultural functions of Choral Singing important interpretations N. Kovalchuk cross national archetypes as symbolic structures of Ukrainian culture and Ukrainian mentality, with the ability prokreslyuvaty further benchmarks. Therefore archetypical function choral art is taken as a starting point for the proposed system functions. After all, «reveals the inner logic of the beginning of the process, get rid of completely positive or negative impact not able to start the next stage of development of any culture» [10, 11]. Sources of Ukrainian choral art is known to derive from prehistoric and pre-Christian times. «If we weigh - wrote G. Vashchenko at work» educational ideal «- prehistoric period that lasts much longer than historical, we must recognize that the ideal of prehistoric man went, so to speak, in flesh and blood people, it became second nature, reflected in its customs, rites and folk art «[11, 111]. The scope of this thesis choral singing transponuyetsya adequately, conceived at the dawn of the ethnic group for centuries crystallized in complex mythological and pantheistic-agrokulturnogo beliefs, rituals and customs, he entered the consciousness and the subconscious mind of the masses, has become part of the lives of our ancestors further and closer, is their relationship to the world. And they passed on to posterity as modified, and sometimes constant, initially «eternal tradition», «ages covenant» (Miguel de Unamuno) that focuses primarily on traditional indigenous ritual choral singing. It is natural that the historical process as genetic, psychological and social characteristics of proto-Ukrainian residents of different regions, causing some differences in the development of their choral tradition. However, O. Kosice said common ritual-song creation to indigenous ethnic territories: «Ceremonial songs at all their diversity are reduced to typical samples in their versions for all common spaces Ukrainian land, regardless of political boundaries, which have separated and are living proof as unity of the Ukrainian nation» [6; 16]. Ancient cult-sacred rituals and music was arranged. There is an assumption that the worship of pagan gods happened to choral singing. «I. Sreznevsky made based on various testimonies and stories of Arab travelers conclusion that the temples Slavs (in pre-Christian days - NS) there were choirs, which led priestly caste «[5; 142]. Thus, the origin of Ukrainian folk polyphony as choral singing in general, according to O. Kosice, «... lies in the dark pagan worship and social life in the dark. It is clear that the cult of the peace or act of sharing or combat nature - the cradle of choral singing «[6; 26]. Both areas of ancient choral singing - kultovo- and national ritual, according to V. Vytvytsky «diametrically different and distant to each other, especially in those early ages.» However, he rightly points out that they are united, «choral singing is not interpreted as a means of entertainment as well as the full weight and worthy of respect work as a means to rise higher, supernatural power» [1; 121]. As choral role in the process of nation - culture creation and interpreted as its general goal-setting, the other important methodological foundation of the chosen research topic is the cultural-historical conception of formation of the Ukrainian nation. This issues attracted the attention of historians, philosophers and culture, including Hrushevsky, Ivan Lysiak-Rudnytsky Subtelny A., M. Semchyshyn. J. Dashkevich, S. Krimsky, Zabuzhko A., M. Popovic, M. Stepyko. They identified variants stadial process revealed features of its stages, objective and subjective factors and obstacles to promotion. In Ukrainian historiography there are different theories stadial maturation process (revival) national consciousness. The term «renaissance» indicates its genesis (even in times of public formations Kievan Rus and Galicia-Volyn principality), fading (associated with prolonged enslavement) and gradual recovery (caused by a number of internal and external factors), which manifested the growth and activation phases national liberation movement and parallel cultural development. M. Semchyshyn relied on chronological scheme I. Lysiak-Rudnytsky. Periodization distinguishes the last three chronological segments: Gentry (noble) - 1780-1840 gg., Populist - 1840-1880 gg. And modernist - 1890-1914 biennium. [9; 211]. The modern historian J. Dashkevich, compared to Ivan Lysiak-Rudnytsky, extends the time-space Ukrainian ethnic self-awareness that «emerged during the First State - Kievan Rus» by featuring period at the turn of XVI-XVII centuries. as the «First National Revival era before the formation of the Second State (Hetman).» Second national rebirth given third country (1917-1920 gg.), The third led to the revolutionary events of 1990. [4; 72]. M.Grushevskiy at work «Cultural and national movement in Ukraine in XVI-XVII age» also called the period of XVI-XVII centuries. «The first Ukrainian revival», «that so much, albeit briefly, zablyslo and political thinking shine and national awareness, and artistic creativity rozvoyem» [3; 137]. Most historians are unanimous that the first significant activation took place at a national awareness «Cossack era» (O. Subtelny), which preceded the formation of the autonomy Hetmanate. From the Ukrainian Baroque style that almost time frame coincided with the existence of the Cossack state, a leading place in art begins to take heroic and patriotic theme, as noted philosopher S. Crimea. Unlike Western culture then the inherent tragedy of perception, «... for Ukrainian Baroque typovishymy were scenes of military glory, heroism, chivalry virtues of the holy offerings achievements spirit, the victory of life over death» [7; 401]. This heroic baroque line significantly influenced the formation of the Ukrainian people, not only the time but also affected the national mentality in general. Arguably, the choral culture, mentally and genetically characterized the Ukrainian people, mostly ethnic prysluzhylasya to the maturation of consciousness and ethnic consolidation. This is most clearly manifested in the turning points of Ukrainian history, imprinted first in historical songs XIV-XVII centuries., later - the period of liberation songs first decades of the twentieth century. and in the heroic and patriotic songs of individual authorship. National cultural revival in the nineteenth century. Ukrainian composer promoted creativity, which showed a growing interest in the civic and patriotic themes. It is difficult to overestimate the role of music and literary connections as «building blocks of national identity» (O. Subtelny), represented by M. Verbitsky, M. Lysenko, S.Lyudkevych A. Vakhnyanyn, K. Stetsenko, L.Revutsky, Barvinskyi and many other composers of choral music in their poetic lyrics to Shevchenko, Ukrainian Lesya, Ivan Franko and others. Starting from historical folk songs to copyright created at different phases of the national liberation movement, social-patriotic themes choral music becomes a through promotion of Ukrainian complex ideas. The researchers argue that the absence of Ukrainian statehood for centuries gravitated over all spheres of life of the nation, spraying genetic and creative potential for self-affirmation. This national culture acted as a powerful etnokreatyvna force knitted intra-national basis and used every chance manifestation of ethnic vitality, showing the world its originality and uniqueness (and choral art for a long time was not important «Nerve» Ukrainian cultural progress). Unfavorable foreign historical circumstances, on the other hand, the Ukrainian led to contemplation, the search for harmony, hope and goodness in the alternative reality of God’s truths. So naturally-national community choir has long cemented and inspired by religious sentiments expressed by Church ritual singing. Based on the study of the works of historical musicology, books and intelligence on the general and regional horoznavstva, works on the field of medieval studies and church music, ethnological studies, memoirs and epistolary prominent composers and choral conductors offer a definition of cultural groups functions Ukrainian choral art. Clifford Geertz, author of «Interpretation of Cultures», the «innate way of life», in particular, «Tradition», «culture» and «national character» sees «esentsialiazm» and «the general outline of the history of our time» and «the specific content of the story» refers to «epochalism» - «the spirit of our age» [2; 282]. Poklykayuchys of cultural studies, it is advisable to use one of these definitions regarding basic cultural features Ukrainian choral art, namely, borrowed adjective derived from the definition of «essentialism.» Therefore essential to include substantive basic-functions - archetypal, etnokonsolidatsiynu, traditional church ritual and ritual - those that inspired kulturogeneza choral art. Some others - musical and educational, cognitive prosvitnytsko-, mobilization, advocacy ideological, ethnic-integration, artistic - Discrete that nasharovuvalycya on essential - belonging to occasional. A separate group are also immanent - culture-communicative, music therapy, katarsystychna and function of socialization that include sustainability, inherency choral art at all times. Research distinctive features of national music culture, which manifested new faces at different stages of historical development and contributed to the formation of the nation - there is the years of state independence issues. With this in mind, ethno-social and culture-resources of Ukrainian choral art requiring interdisciplinary interaction study in philosophy, culture, ethnology, ethnic psychology, history, sociology, art history, music pedagogy, folklore and musicology. This makes it possible to bring the ontological integrity of Ukrainian choral art in roll eras, events and relationships in personnel, professional and amateur, past and present, giving at the same time one of the time-tested art a guide to the future. Thus, the theoretical and methodological principles of cultural studies taxonomy features choral art derived from the works of Ukrainian and foreign scientists - culture, anthropologists, historians, philosophers, tangent to arhetypovosti on ethnic and national mentality and on forming bases. First studied communications etnomentalnyh features (both social and traditional religious and ritual) of Ukrainian choral preferences. In addition, it appears etnozahysna role choral repertoire at different stages of nation-building processes and natsiyestverdzhennya (according to the above historical concepts forming Ukrainian nation).

References 1. P. Vytvytsky Ukrainian choral culture / V. Vytvytsky // musicological work. Journalism. - L., 2003. - P. 120-130. 2. Geertz C. Interpretation of Cultures: Select. essay / K. Hill. - [Lane. from English.]. - K. Spirit and Letter. - 2001. - 542 p. 3. M. Hrushevsky cultural and national movement in Ukraine in XIV-XVI age / M.Grushevskiy // Spiritual Ukraine: Coll. works. - Kyiv: Lybid, 1994. - P. 136-235. 4. Y. Dashkevich Ukrainian national consciousness at the turn of XVI-XVI centuries. / J. Dashkevich // Modernity. - 1992. - № 3. - P. 65-74. 5. History of Ukrainian music: the 6 t. / [Redkol .: Gordiychuk M. et al.] // USSR. Institute of Art., Folklore and Ethnography. MT Rila. - K.: Science. opinion, 1989. - TI - 1989. - 448 p. 6. O. Kosice Ukrainian song and music / O. Kosice. - [Repro. kind.]. - K.: Music. Ukraine, 1993. - 48 p. 7. During the Crimean SB signature Sofia / SB Crimea. - K., WA Kyiv Mohylyan. Acad., 2008. - 718 p. 8. Cultural Studies: Theory and History of culture: teach. guidances. / [Ed. I. Tyurmenko]. - [3rd 9. Semchyshyn M. Thousand Years of Ukrainian culture / M. Semchyshyn. - [2nd ed. fototypne]. -KA: JSC second river, MT Phoenix, 1993. - 550 p. 10. phenomenon of the nation: the basics of life / [ed. VV Popov]. - K: Knowledge, flat co, 1998. - 264 p. 11. Yaniv V. Essays on the Ukrainian ethnic psychology / V. Yaniv. - K: Knowledge, 2006. - 341 p.

Summary Substantiated theoretical and methodological principles of systematization of social and cultural functions of national choral art. The criterion for systematization presents the contribution of art to the nation-building process and natsiyestverdzhennya. Proved its conformity to certain etnomentalnyh signs associated with religiosity, storage and ancient ceremonial traditions with a tendency cohesion in small groups. Emphasizes the role of choral repertoire of patriotic and social themes as promoter of national ideas in different historical stages of the Ukrainian nation. Keywords: choral art, mentality, socio-cultural function, religion, ritual, nation.

Summary Synkevych N. Тheoretical and methodological principles of systematization of social and cultural functions of the ukrainian choral art Substantiated theoretical and methodological principles of systematization of social and cultural functions of national choral art. This is the author’s desire to bring the various branches of human knowledge, life and activity, show their interdependence. Typically, the amount and the semantic content of such functions varies in different versions, but some components inherent stability. Since the functionality is defined as serving some purpose, the socio-cultural function of art in general or industry: First, determine the specific role of the arts to society and its culture; second, helping to attract individuals to the spiritual and aesthetic achievements of the ethnic group, nation, humanity; thirdly, providing kontynualnist and the tradition, the relationship eras of national life in historical context; Fourth, projecting moral perspective and aesthetic landscape. First built «functional interpretation of choral culture» A. Laschenko. However, studies written in Soviet times, could not delve into the national dimensions of Ukrainian choral art. In the article the work of other researchers, where this perspective is the subject of scientific interest. However, considering this perspective, the author refers to domestic research scientists identify the nature of problems concerning the Ukrainian mentality, the mentality, the creation of the nation, national consciousness. The criterion for systematization presents the contribution of art to the nation-building process and natsiyestverdzhennya. Proved its conformity to certain etnomentalnyh signs associated with religiosity, storage and ancient ceremonial traditions with a tendency cohesion in small groups. Emphasizes the role of choral repertoire of patriotic and social themes as promoter of national ideas in different historical stages of the Ukrainian nation. Research distinctive features of national music culture, which manifested new faces at different stages of historical development and contributed to the formation of the nation – there is the years of state independence issues. With this in mind, ethno-social and culture-resources of Ukrainian choral art requiring interdisciplinary interaction study in philosophy, culture, ethnology, ethnic psychology, history, sociology, art history, music pedagogy, folklore and musicology. This makes it possible to bring the ontological integrity of Ukrainian choral art in roll eras, events and relationships in personnel, professional and amateur, past and present, giving at the same time one of the time-tested art a guide to the future. Thus, the theoretical and methodological principles of cultural studies taxonomy features choral art derived from the works of Ukrainian and foreign scientists-culture, anthropologists, historians, philosophers, relevant issues arhetypovosti and ethnic mentality and forming on national bases. First studied communications etnomentalnyh features (both social and traditional religious and ritual) of Ukrainian choral preferences. In addition, it appears etnozahysna role choral repertoire at different stages of nation-building processes and natsiyestverdzhennya (according to the above historical concepts forming Ukrainian nation). Key words: choral art, mentality, socio-cultural function, religion, ritual, nation, research, cultural process Ukraine, composer’s creativity, music culture, musicology, classification, classical choral music, popular culture.

Annotation Sinkevich N. Theoretical and methodological principles of systematization of social and cultural functions of Ukrainian choral art Substantiates the theoretical and methodological principles of systematization of social and cultural functions of the national choral art. The criterion is the contribution of the systematization of the art processes natsiosozidaniya and natsioutverzhdeniya. Substantiated its compliance with certain etnomentalnymi omens associated with religiosity, storing old ceremonial traditions and with a tendency to unite in small groups. The role of the choral repertoire with patriotic themes as a social promoter of the national idea on the different historical stages of formation of the Ukrainian nation. Keywords: choral art, mentality, socio-cultural function, religious, ritual nation. Nadіyshla to redaktsії 11/14/2014 p.

UDC 784.1 (477.8): 7.036 OM Marach

CHAMBER CHOIR VIKONAVSTVO: TENDENTSІЇ ROZVITKU IN DOBOU DERZHAVNOЇ NEZALEZHNOSTI (AT PRIKLADІ ZAHІDNOGO REGІONU UKRAINY)

Akademіchne Choral Art of vіdobrazhaє tendentsії scho pronizuyut sotsіokulturny continuum from derzhavі. Kamernіst, yak provіdna tendentsіya Suchasnyj choral vikonavstva, vzaєmopov’yazana Zi strіmkim zbіlshennyam kіlkostі smallest in kolektivіv at the 1990 pp., Zumovlenih novimi іdeologіchnimi settings. Okrіm Positive rezultatіv, appeared chimaloї kіlkostі small, nasampered ecclesiastical horіv set pid sumnіv їh yakіsny rіven that visunula to low muzikoznavstvom problems. Tse - aktualnі problemi teorії choral vikonavstva, sprobu virіshennya okremih іz them zdіysneno have danіy naukovіy rozvіdtsі. Vіdtak, її meta polyagaє in theoreticity obґruntuvannі chamber choir yak modelі Suchasnyj collectives that tendentsіy rozvitku chamber Mistetstvo have Dobou derzhavnoї Nezalezhnosti Ukraine. Dwellers pіznati yavische, neobhіdno doslіditi yak vono viniklo. Identity zvernemosya to іstorії vikonavstva chamber. Vikonavstva round chamber, pov’yazanogo s domashnіm muzikuvannyam, syagayut Glibin Renaissance that Baroko i stosuyutsya ansamblevoї Musicians - vokalnoї that іnstrumentalnoї. Pochatkova warehouse svіtskogo choral collectives of Article XVI. nalіchuvav mayzhe 40 osіb; tsі mіshanі dripping stvoryuvali muzichny suprovіd the courts. Taka Quantity horistіv, yak usually Visoko profesіynogo rіvnya, Bula zumovlena require vikonannya visokotehnіchnih renesansnih and baroque tvorіv Zgoda. Schodo ponyattya «Musica Chamber», the Yak vkazuє O. Zіnkevich, priblizno until mid-nineteenth century. vono meant domashnє muzikuvannya, yak «perevazhno vikonuvalosya in aristocratic salons in the smallest in Abo domashnіh gurtkah» [3; 6], tobto pov’yazuvalosya s vocal chamber-chi іnstrumentalnim types vikonannya. In Dobou romanticism kamernіst became zasobom for vіdobrazhennya іndivіdualnogo vnutrіshnogo svitu Mitzi. In the twentieth century. chamber appears as ideological and conceptual trend. In the USSR, it manifested itself as a «defensive» response to the grandly-scale cultivation of works. Chamber associated with the embodiment of the very intricate inner feelings, rejection of pafosnosti sound application of new compositional techniques, including with tendencies to medytatyvnosti, minimalism, etc. (prime example - the «silent code», the increasing role of modernist instrumental quartet Shostakovich and B. Liatoshynsky, the continuation of these trends in Ukrainian music V. Silvestrov, L. Grabowski, Stankovych, and . Karabyts etc.). In the last decade of the twentieth century. According to the Polish VI, «chamber becomes one of the principal landmarks of modern art» [10; 37]. The above trend, respectively, resulted in choral performance, the dominant features of which were special elegance and attention to intonation and semantic detail, the embodiment dramatic nuances of music. This led to the need for skilled performers musical and intellectual level that can be flexible in a dynamic and rhythmic sound fields. One of the first sample chamber choir in the former Soviet Union was the Chamber Choir Choral Society in Ukraine, created in 1964 V. Ikonnikov - representative «pihrovskoyi school», which has roots in highly Sacred traditions. Among the first works where the features of the chamber choir is Article B. Pevzner «Chamber Choir - structure, organization, principles of «[9]. Nature chamber choir can be identified by understanding the structure of the singing group, established in the writings of Alexander Kabanov [4] and A. Bench [2, 92-95]. Extrapolating the structure of the singing group, specified in these works, the specificity of the chamber choir, we can point out its characteristics, in terms of semantic activity (Table 1): involves chamber choir repertoire of genres; the type and nature of intonation associated with the formation of sound ideal, based on the equality of votes and implementation Grand thin sound; in terms of the functioning of a team that can exist as a concert and liturgical and training; the method of organization it is often a team of 24 participants, with professional musical education, although their number may reach 36 people. The structure of the singing group (the works of O. Kabanova and A. Bench) The emergence of the national independence day in Ukraine considerable number of chamber choirs. due, in our opinion, two main reasons. First, the renaissance of religion contributed to the emergence of religious groups, with all of them tend chamber. It is this layer «feeds» and municipal groups - from a wide layer of singers who have gained practice in the church team (as well as with educational institutions), best taken at municipal and other professional choirs. Second - mobility as one of the main factors of a large wave in chamber music choral art on the verge of 1980- 1990’s. When opened the possibility of touring abroad. Analyzing the phenomenon chamber choir as an example of its functioning in the modern socio-cultural continuum, we come to understand the nature of this phenomenon. So, consider the features that form the model chamber choir. 1. The quantitative model parameters. Chamber Choir singers make up 24-32, the small chamber - from 16 people, 12 singers - band, which can be called «mini-chorus.» The possibility of reducing the quantitative composition choir of 40 to 24 people historically associated with higher levels of training choir members. 2. Vocal and technical parameters of the model include: increased intonatsiynist; clear ripple; melody; flexibility votes; equality of votes; Timbre clearly taken from coloring votes timbral continuity, thus - availability of votes in extreme registers parties. 3. Repertory possibilities models. Chamber staff is unable to fully implement large-scale sound works because of the limited dynamic scale. Must be selected chamber music ranging from madrigals and motets of the Renaissance, specially written chamber masses (eg, Messa C-dur Gounod, «Magnificat» Vivaldi and others.), Chamber music and choirs of various historical periods, particularly XX Art. 4. The functionality of the model. Chamber Choir in today’s socio-cultural context often combines the functions of a secular and liturgical team - for example, in Ukraine it «Credo», «Oranta», «Resurrection», «Cantemus» and others. 5. Mobile capabilities model. Benefits of chamber choir provide ample opportunity. Small structure is mobile, needs less financial costs, therefore, the team can easily tour. 6. Problem zone model. Problems in the chamber choir associated with the following factors: physical health singers because of their small number; Recovery after his repertoire oblivion (in the large choir repertoire greater ability to hold «the number» singers that remember the works that have not performed); limited dynamic scale. Thus, the Chamber Choir - highly professional team model, able to embody the subtle nuances of intonation and meaning, with a high degree of mobility, active touring activity opportunities at relatively low financial cost, in today’s socio-cultural continuum often combines the functions of a secular and liturgical. For chamber choir in vocal and technically necessary intonatsiynist increased, a clear pulse, melody, flexibility votes timbre «continuity» in the voices of the extreme registers of parties; Repertory Chamber in terms of staff is unable to fully implement large-scale sound works because of the limited dynamic scale. Analyzing the model chamber choir and choral art trends in the western region of Ukraine in the day of its independence, conducted surveillance over the activities of top leaders of the region, among them - Tsyhylyk A., I. Tsyklinskyy, M. Katsal, M. Kulik, Vladimir Yatsynyak, B. Syvokhip, I. Dankovskyy, Z. Demtsyuh, V. bay, G. Lyashenko, E. Sokach, volunteer C. O. Tarasenko (at the time director of the choir «Resurrection»), O. Odynets, V. Moysiyuk, B . Havryliuk, J. Zvarychuk, I. Tsmur, I. Demyanets, I. Levenets, B. Ivanonkiv, S. Dunets, N. Seleznev and other artists. The results of this work are published in author’s works [5-8 and others.]. Based on observations, personal interviews with academic choirs, conducted over the last three years trying to understand the essence of the process of academic choral art Ukraine as a sociocultural phenomenon. Therefore, in the interview with renowned maestro addressed problems relating to features of regional choral art in socio-cultural space of Ukraine. Features of regional choirs problemy and solutions. Most conductors believe that problems in the activities of choirs in each region almost the same. First of all - a lack of skilled singers who can without learning to read music texts do not require additional work choirmaster of teaching vocal technique. However, in the words of O. Tsyhylyk, amateur choir can sing at a professional level and vice versa - professional staff can perform in amateur. Second, in many choirs have a problem with the formation of the male members. If the female composition emerged as a more or less stable, the male group organizational needs constant attention. Third financial side of choirs. For example, in the city. Khmelnitsky, as Ivan says Tsmur Municipal Choir receives strong support mayor, deputies and the Department of Culture of the City Council. However, not every choir in regional centers can hope for such support. At the regional distance that has roots in historical provincialism as a problem in the regional choir drew A. Tarasenko: «We are reaping the fruits of the failed election of the administrative center, which ... should also be cultural.» Therefore, in such towns as equals, work hard. Today, for example, there are intelligentsia in jail with his grandfather, great-grandfather; the same stratum of intellectuals should do at the level necessary to create culture. According to O. Tarasenko, the city can not be called cultural, if there is no symphony orchestra, the choir, the Philharmonic, the theater. In exactly is the Philharmonic is theater, but there was no such «titular» groups of the region, such as the Symphony Orchestra of Lviv Philharmonic or Lviv Opera or the Odessa Opera Cherkasy Folk Choir or dance ensemble «Nadzbruchanka» in Ternopil, Hutsul song and dance in Ivano-Frankivsk, Volyn Lutsk Choir and others. As pointed maestro specifically to fill this niche in the socio-cultural sense (along with liturgical purpose) and created in 1991 the choir «Resurrection», which had ambitions to become a «title» team and create local - regional culture. On the issue of professionalisation focuses V. Yatsynyak. Galicia has always been famous for lots of singing groups - «Boyana» and other choirs. However, it was important to concentrate the best performing forces with professional choirs. Specificity Lviv choral school is its relationship with opera and symphonic in the formation (recall that the class coryphaeus of choral school and went Kolessa M. galaxy opera and symphonic conductors). This relationship, according V.Yatsynyaka, left its imprint on peculiarities of groups over a long period in the twentieth century. A. Tsyhylyk believes that the main thing for any team, including Regional - is ownership «Ideal sound» achieved in the long intonation work. The problem of finding professional singers, especially male voices is extremely acute in regional choirs, - says I. Demyanets. For example, in Ivano-Frankivsk in recent years were not choir that would have an opportunity to engage regularly in a professional manner (of singers arrives from other cities Carpathians). The problem lies, first, in the «outflow of resources» in the capital city and abroad, which has the objective circumstances. Secondly, the problem in the education of conductor. A small number of professional teams does not allow students to take high-quality educational institutions conductor practices inhibiting active development choir-specialist. Leading issue of regional choral art in smaller regional centers - professional formation schools, - said V. Moysiyuk. For example, in Lutsk sharply because it stands «Exodus of staff» in the capital city and abroad that became widespread in the 1990s. For example, in schools Lutsk teachers conducting up older and younger age groups, while completely missing «forty» galaxy of artists who would take an active participate in the formation of professional choral school, continuing the tradition of the older generation, that at one time (in the same 1990) created their (mostly religious) groups. V. Gavrilyuk accentuated that with the acquisition of state independence of Ukraine in an era when there was an opportunity to create a large number of church choirs of different religious faiths. For example, the choirs have appeared in Lutsk «Orans» Holy Trinity Cathedral, «Volyn Bells» Church of All Saints earth Volyn, Roman Catholic Church of Saints Peter and Paul and others. A large number of students and graduates the opportunity to practice choral singing and sometimes hormeysterstvu performing stylistically diverse repertoire and genre - the best samples of Ukrainian and Western spiritual classics, music of contemporary composers. Grow young galaxy horovykiv who supported the traditions of their mentors - disciples Muravskyi P., V. Ikonnikov, M. Berdyennikova, L. Venediktov and others. There was a historic opportunity to continue the best traditions of the Kiev choral school, initiating regional tradition, based on which further could vytvorytysya Volyn school choir. However, most talented graduates receiving appropriate practice went abroad in the capital city, as a result of interrupting the «chain of generations» and therefore - and stopping the formation of choral school. Solving the problem of internal staff on professional choral composition by choirmaster cherez training, selection through a casting search for other ways to improve the professional level. This is a significant problem in a provincial area, - stressed I. Demyanets. He said that the singers have no musical education, resulting recurring problem of additional classes. The problem with a complete set of choral groups are always sharp, - says Alexander Tarasenko. Option to solve it is to two-thirds of the singers were stable (graduates of conservatories, teachers). While only one-third of college students doukomplektovuyetsya usually better, which later leaving to study at the conservatory and often returned in peripheral cities where employment is difficult. That is, it is important to keep the «skeleton» staff, which must be at least two-thirds of the choir. N. Seleznev and I. Tsmur stressed that the majority of staff in vocal terms after training in higher educational institutions are in large cities Kyyevi, Lviv, working in national groups, where higher wages. Of course, with decent funding to all musicians held one team, choirs and professional level would be higher in any area. What should be the balance in terms of targeting the professional and non-professional audience, and accordingly - and repertoire policy team? B. Syvokhip thinking that to attract wider audience choir repertoire (more than half) must consist of works of national culture - as arrangements of folk songs, classics and modern composers. And less than half of the repertoire should be exemplary works of world music, diverse in genre and historical and stylistic direction. It segments of this repertoire will always maintain professionalism of the choir, and also enables comparison and qualitative analysis of domestic and foreign product. O. Tarasenko stressed that any staff should seek high-level performing «Vertex» works of baroque, classical music, romantic and modern composers - without this it is impossible to learn and retain performing sophisticated technology, working with multi-style repertoire. Otherwise, performing only popular repertoire, you can «get away» to the amateur level. Wide audience it will be more like it, but it will lead to a permanent decline. Therefore need a healthy balance. «I am not a supporter of the slogan» art for art’s sake «and believe that educational function of art, especially now, in our territories, when» anti-music «,» noise «dominated the media and transport, we must pledge People hear - hear through music «- called Maestro. Therefore, the most important task is the educational function of the artist, is to serve the people; This function should prevail in modern conditions, but we should not go to the amateur repertoire and have guidelines at European level to educate the public accordingly. Amateur listener is well perceived and spiritual music, folk, especially the playful, jazz compositions, works of entertainment plan - said I. Tsmur. Specialist requires new music, usually of high intellectual level. How to encourage a wide range of choral music listeners with same unprofessional environment? M. Kulik expressed the idea that public tastes vary cyclically, and these cycles last approximately seven years. Thus, in a period of Ukrainian public «required» works of national character, such as works of O. Kozarenko, I. Kaminsky Kalynets the words of I. et al. The rooms had enough listeners with «non-musical» environment, the concert certainly had completed national sacred music - «Testament», «My thoughts» and others. Over time, tastes changed. There was a time when the public were interesting experiments with various kvaziinstrumentalnymy sound - sounds like a peasant braids and other objects of rural life - imitation of animal cries, noise, etc. Today, according to M. Kulik, the audience sees the best world hits in a variety of finishes; program introduced in separate pop, jazz compositions. «The example of his choir, stverdzhuvav Tsmur I. - I can say that we start preparing public child - working in children’s music schools, secondary schools, higher education institutions in the city and region.» Therefore, you need to motivate students to read from the young generation, accustomed to visiting concerts from an early age. V. Gavrilyuk noted that «go» on a wide range of audience possible and necessary, accustomed students of music schools regularly attend concerts. In the future, these students bring their friends, creating some sustainable range of audiences young generation. C. Dunets stressed the importance of promoting academic product in the media, which, unfortunately, is a complex process in contemporary socio-cultural situation. Way out of this situation is the use of music resources on the Internet, as well as recording and distributing CDs. A significant achievement of educational institutions should be video and music library speeches leading teams, however, this issue needs special attention and are often not solved properly. Thus, based on the views of choral conductors western region of tendencies of development of choral art in socio- cultural space of Ukraine. Choral Arts continues to develop the best traditions initiated luminaries choral schools and intensified in the 1990s. In the wake of national and spiritual revival. However, there are some problems. The first problem - the staff of the regional groups. Second - poor management and lack of advertising, which makes it difficult to educate young listeners. Third, minor crops support public and private commercial entities festival-competitive process. Addressing these issues offers the prospect of cultural future of Ukraine, interrelated problems which further development of the national society.

References 1. The group Classical Music. B. Liatoshynsky [electronic resource]: official site. - 2. Access: http://www.organhall.kiev.ua/content/view/13/49/lang,ua/ 3. Bench-Shokalo OG Ukrainian choral singing. Updating customary traditions: [teach. guidances.] / 4. A. Bench-Shokalo. - K., Ed. Zh. «Ukrainian World», 2002. - 440 p. 5. Zinkevich OS Chamber music: to help the lecturer / OS Zinkevich. - T-vo «Knowledge» 6. Ukrainian SSR. - K., 1967. - 17 p. 7. A. Kabanov PROBLEM K Saving pesennoy folklornoy traditions in modern terms / A. Kabanov // Hudozhestvennaya samodeyatelnost: questions of development and leadership. - Moscow: Sov. Composite., 1980. - P. 90-105. 8. O. Marach academic choral art in creative dimension V All-Ukrainian Competition. Ukrainian Lesya / O. Marach // musicological studies Inst Arts Wolin. nat. Univ them. Lesi Ukrainian and Nat. muses. Acad. Ukraine. Tchaikovsky: Coll. Science. pr. - Lutsk, Volyn. nat. University of them. Ukrainian Lesya, 2011. - Vol. 7. - P. 454-466. 9. O. Marach Updating regional choral art of Ukraine in Khmelnitsky Municipal Chamber Choir: Based on an interview with Igor Tsmurom [electronic resource] / O. Marach // Science. app. Ternopol. nat. ped. Univ them. V. Hnatiuk. Series: art. - T.: Nat. ped. University of them. V. Hnatiuk. - 2012. - № 2. - P. 36-42. - Access: http://dspace.tnpu. edu.ua/bitstream/123456789/2219/1/ 10. O. Marach Apolonichnyy and Dionysian archetypes in conducting and choral performance (for example, works of O. Tarasenko and A. Vacek) / Marach O. // Study of art / NAS of Ukraine; Institute of Art., Folklore and Ethnology. MT Rila. - K.: IMFE publishing house, 2012. - Part 3 (39). Theatre. Music. Cinema. - P. 53-58. 11. O. Marach idea of spirituality in the creative manifestation chamber choir «Orans»: a view through the twentieth / O. Marach // musicological studies Inst Arts Wolin. nat. Univ them. Lesi Ukrainian and Nat. muses. Acad. Ukraine. Tchaikovsky: Coll. Science. pr. - Lutsk, Volyn. nat. University of them. Ukrainian Lesya, 2010. - Vol. 6. - P. 196-204. 12. Boris Pevzner Kamernыy choir - the structure, organization, Principles of work / Boris Pevzner // Sov. Music. - № 7. - 1979. - S. 40-41. 13. Polyakov OI dyryzhyrovanyya Language / OI Polyakov. - K.: Music. Ukraine, 1987. - 95 p.

Summary A model of the chamber choir and its functioning in western Ukraine. Feature choral art trends based on observations of activities on interviews with leading conductors edge. Keywords: chamber performance, model chamber choir, choral art trends in Western Ukraine the period of independence.

Summary Marach O. The chamber choral performing: the tendencies of development in Independent period (by example of Western region of Ukraine) Academic choral art reflects trends that permeate the sociocultural continuum in the state. Chamber as the leading trend of modern choral performance, linked to the rapid increase in the number of small groups in the 1990s due to new ideological. In addition to the positive results, the emergence of a significant number of small, above all the church, choirs questioned their quality of musicology and has confronted a number of challenges. The article deals with the origins of chamber choral performance and notes that they go back to their roots Renaissance and Baroque and relating to vocal and instrumental ensemble music with the composition of 40 musicians, the composition, the optimal performance for high-tech works of the period. At the same time, the term «chamber music» to the mid-nineteenth century meant mainly domestic music, that is carried out in aristocratic salons, that is associated with kamernovokalnym types or instrumental performance. In the age of Romanticism chamber has become a means to reflect the individual’s inner world of the artist. In the twentieth century. chamber appears as ideological and conceptual trend. In the USSR, it manifested itself as a «defensive» response to the grandly-scale cultivation of works. Chamber associated with the embodiment of the very intricate inner feelings, rejection of pafosnosti sound application of new compositional techniques, in t. Ch. With tendencies to medytatyvnosti, minimalism, etc. (prime example – the «silent code», the increasing role of modernist instrumental quartet D. Shostakovich and B. Liatoshynsky, the continuation of these trends in Ukrainian music V. Silvestrov, L. Grabowski, E. Stankovic, I. Karabyts etc.). In the last decade of the twentieth century «chamber becomes one of the principal landmarks of modern art». One of the first sample chamber choir in the former Soviet Union was the Chamber Choir Choral Society in Ukraine, created in 1964 V. Ikonnikov – representative «pihrovskoyi school», which has roots in highly Sacred traditions. The emergence of the national independence day in Ukraine considerable number of chamber choirs. due, in our opinion, two main reasons. First, the renaissance of religion contributed to the emergence of religious groups, with all of them tend chamber. It is this layer «feeds» and municipal groups - from a wide layer of singers who have gained practice in the church team (as well as with educational institutions), best taken at municipal and other professional choirs. Second – mobility as one of the main factors of a large wave in chamber music choral art on the verge of 1980- 1990’s. When opened the possibility of touring abroad. A model of the chamber choir and its functioning in western Ukraine. Feature choral art trends based on observations of activities on interviews with leading conductors edge. Based on the views of choral conductors western region of tendencies of development of choral art in socio-cultural space of Ukraine. Choral Arts continues to develop the best traditions initiated luminaries choral schools and intensified in the 1990-s. In the wake of national and spiritual revival. However, there are some problems. The first problem – the staff of the regional groups. Second – poor management and lack of advertising that makes it difficult to educate young listeners. Third, minor crops support public and private commercial entities festival-competitive process. Key words: chamber performance, model chamber choir, choral art trends of Western Ukraine state independence period, the origins of chamber art, modernity, the leading conductors of choral art in Western Ukraine.

Annotation O. Marach Chamber and choral performance: development trends during the period of state independence (for example, the western region of Ukraine) A model of the chamber choir and its operation in the western region of Ukraine. Highlights trends of choral art on the basis of observations of activities and interviews with leading conductors edge. Tags: Chamber Music, model Chamber Choir, choral art development trend of the western region of Ukraine the period of state independence. Nadіyshla to redaktsії 09/19/2014 p.

UDC 78.2U

M.J Borax CHAMBER AND ORCHESTRAL VIKONAVSTVO: TIPOLOGІYA SEMANTICS TA KOMUNІKATIVNA SPETSIFІKA

Sered tendentsіy rozvitku culture, scho broach actively rozvivatisya from the twentieth century. i ruhayut Mystetskyi Postup sogodnі, Je kamernіst. In muzichnomu mistetstvі tsya Hvilya, s one side, sformuvala hudozhnyu sphere in yakіy zoseredzhuvalisya «іntelektualіzm i psihologіzm» (L. Raaben [25]) have muzichnogo vislovlyuvannya skladnі perіodi radyanskoї Dobie, realіzovanі have tvorchostі B. Lyatoshinskogo i suchasnikіv. Zgoda kamernіst showed at kompozitorіv shіstdesyatnikіv-Je Stankovic, V. Silvestrov, Grabovskogo L., M. Skorik, I. Karabyts that їh poslіdovnikіv - Kamіnskogo B., O. Kozarenko, K. Tsepkolenko that іn. mittsіv. W іnshogo side, kamernіst zavdyaki odnіy s її bunt rice - mobіlnostі - became іmpulsom appeared low for kolektivіv and vіdtak - i bearing-down chamber Ruhu in orchestral, choral ensemble that mistetstvі scho viyavivsya from 1960, and od early 1990s. Ukrainian artists gave an opportunity to tour abroad. Finally, the chamber at the height of his distinguished diverse options for creative incarnations drama and musical theater, literary, musical and pictorial miniatures. If these arts deepened the role of every character, every line, the colors, the orchestral thinking it led to the formation of a kind of «theater of personalized tools.» Thus, the chamber orchestra performing today is an important event, so consider this topic relevant. If the problem is a chamber music ensemble instrumental sphere is widely elaborated I. Polish [19-21] and other Ukrainian researchers, the chamber orchestra performing as a phenomenon of modern Ukrainian culture has not yet received the whole study. Therefore, this issue posluhovuyemosya wider range of research, some of which have already entered the musicological classics. First of all, labor Theodor Adorno [30] W. Allen [31] B. Asaf’yeva [2-5]; the history of I. orchestra Barsova [7] A. Kars [14, 32], L. Raabena [25] and studies that address this issue through the prism of the study of Bach’s Orchestra (Charles Terry [35]), etc. . Add to the above list and work Ukrainian musicologists N. Savitskaya «Stylistic trends Ukrainian Soviet symphonic music 60-70’s. (For example Chamber Symphony)» [27], which covers processes in the domestic culture associated with kamernizatsiyeyu and a brochure dedicated to this issue Zinkevych A. [13] and others. It chamber orchestra dedicated to the book M. Pensherlya [33] I. Barsova encyclopedic paper [6], N. Ksenofontov thorough investigation «Chamber Orchestra of the first half of the twentieth century (the problem of typology orchestral writing)» [15] and E. Preysmana - monograph «Chamber Orchestra. The historical process of formation, problems of «[23] and thesis «Chamber Orchestra as a phenomenon in the musical culture of the seventeenth and twentieth centuries» [24]. As for the Ukrainian musicology last 25 anniversary, the carved fundamental work «Chamber Ensemble: History, Theory, aesthetics» I. Poland, where we find the head «Orchestral (collective) Performance as a model makroansamblyu» [19; 219-225, 21] «Playing concerts with the orchestra and its communicative specificity» [19, 226-229], as well as relevant work «instrumental chamber ensemble in the works of Lviv composers of XX century.» V. Andrievska [1] «Trends in contemporary music and the performing arts in the city academic aspect chamber-music ensemble «A. Grabowski [9],» Kamerno- instrumental ensemble in Ukraine. Creativity and Performance (1960-1980 gg.) «N. Savage [10] «Cello sonatas Beethoven (ensemble laws of the genre)» Alexander Zavyalov [11] «Formation of orchestral performance in Ukraine (in the context of national artistic culture)» V. Otkydacha [18], «conducting and orchestral education: theory, methodology, practice» Ya Sverlyuka [28], which analyzes problems orchestral performance as a whole, ansamblevosti and chamber music, and several others. The aim of this study is to identify the specific features of chamber and orchestral performance objectives - analyze the problems of studying chamber music and chamber orkestrovosti in modern musicology, make theoretical generalizations about typology, semantics and communicative specifics chamber and orchestral performance. Exploring the phenomenon called «chamber orchestra» dvoosnovnist have to recognize this concept. First base - chamber, genetically linked to ansamblevistyu and relevant genre system (from duo to big bands). Second - orkestrovist that although based on ensemble leakage and communicative ansamblevist, though essentially linked to other phenomena - symphonic and kontsertnistyu. Chamber, according to I. Poland - one of the «principal landmarks of modern art» [19; 37]. It is defined as a phenomenon in today’s art continuum, what characteristics it has given the historical and social, psychological and communicative timbre-acoustic aspects? If the previous century chamber was related primarily to the salon music, in the twentieth century. it appears as ideological and conceptual trend. Analyzing this phenomenon in the context of the origins of modern art, O. Marach indicates that in the twentieth century. totalitarno- on Soviet territory chamber manifested as «defensive» response to large-scale cultivation hrandiozno- works (mostly «Danish») «[17; 63-64] and embodied in the subtle nuances of inner feelings, rejection of pafosnosti sound application of new compositional techniques, including at tendency to medytatyvnosti, minimalism, etc. [17; 64]. Continuing the above considerations, we define the main feature of the instrumental chamber music as «introvertovanyy intellectualism.» Because genetic connection with «potted» music, home or salon music for chamber music, in the words Asaf’yeva B. [5; 213] inherent «isolation» as one of its main features. Therefore, the chamber ensemble - the fundamental form of incarnation chamber music - a «vicious phenomenon of personal communication and interaction limited number of participants in a small confined space by sharing experiences of emotional and intellectual understanding of the works ...» [19; 43]. Treating Orchestra (collective Performance) as a «model makroansamblyu» Polish I. [19; 219- 220] According to L. Sidelnikova focuses on two different syntheses «I» and «we» in the ensemble and orchestral types of performance in their «pure» form: ensemble is a difficult dialogue, even polylogue, individuals, orchestra - performing dialogue groups. This band includes all other manifestations of the basic principles of performance interaction, reflects the «solo» Performance («soloist» - conductor) are the ensemble groups and have fellowship with chorus [29; 45-46]. As a result of the study I. Polish distinguishes three dominant models of orchestral communication [19; 223-225]: 1. The model «orchestra - the body,» which reflects the individual plans avtorytarno- directive conductor (just as the whole body takes instructions brain); 2. The model «orchestra - the state» or «ideal state», which all perform their functions clearly and consistently to achieve the common good; 3. The model of «Orchestra - Theatre», which played musical performance, orchestral performance with conductor - «director», which takes the stage; genesis of this model is the relationship Baroque opera and symphonic genres, and accordingly - the tendency to form associations and instrumental tessitura, and, importantly, with the timbre characteristics, as indicated by E. Preysman [22; 6]. In our opinion, the nature of chamber and orchestral performance in its general form (outside the influence of psychological types of interaction between conductor and orchestra) will have the latest model - «Orchestra - theater» because it was embodied in the practice of concerto grosso, which is a direct source of contemporary chamber and orchestral performance - functioning in the seventeenth and eighteenth centuries. next to the church and opera orchestras options and variants bands «in case» one of the very large number of artists (over 200), the prevailing part - strings, chamber and orchestral practice revived in the twentieth century. after the rule of large - Symphony - Orchestra in the nineteenth century. The reason for the increasing role of chamber music in the twentieth century .. B. Asaf’yev explains the idea of personalization of each instrument, resulting in a collective ensemble, each instrument - the «real power actual character characteristic phenomenon», and the rise of intimacy caused as a result of abrasion boundaries between symphonic chamber music and orchestra reduced to bands and ensembles grow in small bands, all permeated «Symphonic elements» [3, 6-9]. So, today Chamber Orchestra - a «small theater» orchestral performance with its individualized creation and subtlety of perception. What appears specifics chamber and orchestral performance of its differences from symphony - and orchestral concert on one side and chamber ensemble - the other? Symphonic, chamber and kontsertnist - these are features that provide essential difference symfonichno- and communication orchestral concert of chamber - orchestral and ensemble. The symphonic treat established by the term «symphony» which is seen in the traditional sense asaf’yevskomu disclosure of artistic intention that by using consistent, focused musical development, which, in turn, includes both confrontation and qualitative transformation of themes and thematic elements [ 2]. Kontsertnist «generated specific nature shiny, colorful, virtuozno-» representative «instrumentalism» (L. Raaben) [25; 5], is a property of genre concert with orchestra, and then - accompanied as playing concerts such as «race» soloist with orchestra or orchestral groups where at the forefront game communicative performing parties [16; 15], self-sufficient members of parties that «compete» with each other. So if symfonichnosti philosophical meaning, in our view, is to achieve the highest degree of generalization of abstract images and ideas kontsertnosti - in «achieving aesthetic pleasure of joint action game» [12; 11], the sense of intimacy - «closure» - finds in achieving maximum degree of individualization and fine psyholohichnosti co-creation. At the same time, absorbing the virtuoso performing as kontsertnist-semantic basis corresponding music genre (which occurs in the orchestral playing concerts), chamber communication has become signs and chamber concert. The next question - how as a chamber ensemble composition characteristic correlated with orkestrovistyu? What is the difference between semantic and communicative chamber ensemble and chamber orchestra? First, we note that ansamblevist as «special property of synergies due to internal prerequisites interoperability constituents whole musical elements, characterized by a harmonious combination of compatibility and implemented as simultaneous in odnomomentnosti and procedurally in time» [19; 26] is the foundation of any collective performance - from duet to orchestral. That is, just where is this «synergies», there can argue the consistency of the ensemble in a particular group. Based on this statement, I. Polish, distinguishes the following forms of instrumental music, which at some level appears ansamblevist [19]: - Performing solo as a model mikroansamblyu; - Performing as a chamber (Traditional) model chamber ensemble; - Orchestral performance as model makroansamblyu. Thus, all these models have a pivotal ansamblevist, while kamerno- ensemble and chamber and orchestral models are no greater or lesser effect ansamblevosti principle, and the difference between the chamber and symphonic-orchestral thinking. Analyzing statements researcher on ensemble of dialogue, which manifests itself in interaction with other performers and conductor, student and even in binary individual performance [19], we conclude about the different levels of dialogue in different types of chamber and orchestral performance that formulate the following read: - First level: the internal dialogue that appears during the game due to binary individually performing field; - Second level: external, carried out in the communication «personality» - «Individuality» in ensemble performance; - The third level: foreign, carried out in the communication «personality» - «Group» in a concert performance; - The fourth level: the external, carried out in the communication «group» - «Group» in orchestral performance. On these grounds to proceed further consideration of the subject of our research - chamber and orchestral performance. The phenomenon of the chamber orchestra is the subject of musicological attention in the late nineteenth century. When H. Riemann introduces the term (M. Pensherl points) [33; 5; op. by 24] and its definition, given in «Music Dictionary» Paris 1967 edition r2, is: «Under Chamber Orchestra implied or orchestra solo - instead of group - cast or, in contrast to the major warehouses orchestras, small orchestra, whose composition is similar to the rules orchestras eighteenth century [34; 672; op. by 24]. What conclusions can do with this definition G. Riemann? First, that this phenomenon is heterogeneous phenomenon, and secondly, a consequence of the previous statement that the chamber orchestra types can be classified by their origin, and therefore - and the type ansamblevosti as a way of communication. Call them as follows: - The first type - «Orchestra ensemble», which has cast a solo and ensemble micro way their internal communications; - The second type - «small orchestra», which has a group cast and macro-ensemble method of internal communication. The above types differ in method of forming the composition and internal communication, and therefore - tembralnistyu musical fabric and technology implementation. The last aspect of notes I. Autograph, giving these types as «normalized» and «irregular» chamber orchestra [6]. The choice of executive staff, close to the ensemble or orchestral or solo, orchestral versions, creates a «transitional» options under the above typology. But both types of chamber orchestra symphonic different from one of the major features associated with the chamber - mobility group. In an analysis functions chamber orchestra in modern musical culture of E. Preysman defines a chamber orchestra as «historically concluded quantitatively small orchestral apparatus (11-18 artists), based - interaction individualized timbres of different instrumental groups, hence the different types and compositions, their variability, greater than in other orchestras, the role of each individual performer and management flexibility «[23; 98]. Researcher distinguishes three main components of the concept of «chamber orchestra» that are interrelated and evolving, and gives them a description: - The first component: chamber and orchestral genres, ie, performing apparatus including a chamber orchestra; - The second component: Chamber Orchestra both quantitatively small (11-18 artists) mobile orchestral apparatus that was formed historically and which is based on the interaction of various instrumental timbres individualized groups (this causes different types, kinds and variability of warehouses, high individual role of each artist, variation forms implementation); - There is a third component, chamber and orchestral performance, that is, the artistic results in a «sound space that acquires density due to the wide range of overtones that are well tapped a few pure and mixed timbres outlined in broad strokes subtle nuances volume» and defining «special performing functionality - solnist in orchestral environment» [24; 264]. An analysis of the historical development of orchestral thinking author concludes that the baroque era to the choice of instruments determined only case to match the range of parties (outside the timbre characteristics), creating numerous versions of instrumental groups, but did not give reasons for the formation of orchestras; day in baroque tone with knowledge as a means of musical expression, and therefore - according to the tone selective artistic concept, normalized part of a large orchestra as «the embodiment of a unified totality» and small - «the quintessence of personalization sounds»; in classical formation day forms of presentation in sonatno- symphonic orchestral cycle thinking is the process of individualization of voices, sounds, parties, and as an alternative to operating Symphony Orchestra Chamber in its multiple variants of tool storage, and string variability, especially spiritual groups; This process is enhanced in a romantic age when expansion reached its peak Symphony Orchestra, and at the same time - more diversified stocks chamber. All previous process led to the fact that in the twentieth century. timbral richness of expression came in a dominant position, transforming chamber and instrumental compositions, which freely fit to the needs of the artistic content. On the basis of dynamics of personification votes author suggests that «XXI century will be erased usual boundaries between orchestra and ensemble both in quantitative and structurally, and the default will be the combination of tools any sounds in any amount, determined purely artistic conception of the composer «[24; 266]. Today, a decade after the above-labor can confirm this assumption. Despite the fact that in the course of further weakening the role tematyzmu and come to the fore other means of expressiveness «in multiple tool storage dissolves what is now the Chamber Orchestra» will be necessary «is different playing concerts organization» [24; 277], perform baroque, classical and romantic music always require treatment before the chamber orchestra. So what new elements can bring to the study of the phenomenon chamber orchestra in our study? First, according to the definitions H. Riemann, justifying its two types: «orkestr- ensemble», which has cast a solo and ensemble micro method of internal communication, and «small orchestra» with a group of performers and macro- ensemble method their internal communications. Second, we distinguish level dialogue in different types of chamber and orchestral performance, reaching depths of inner dialogue as a binary process of the game individually performing field and enter the EU level in the process of communication «personality» - «Individuality» in ensemble performance, «individuality» - «Group» in concert performance and «group» - «Group» in the orchestra. And thirdly, summarizing all the above Grand view of chamber and orchestral performance, we conclude that this phenomenon is characterized by the following features in terms of its semantic and communicative specifics: 1) sensitivity to historical and social changes and rapid response to social processes ; 2) «historical presence» and «dialogue periods» with their genre-stylistic phenomena; 3) showing trends intellectualism and psychology (L. Raaben) and the sense of intimacy, which, in our opinion, is defined as «Introvertovanyy intellectualism» and is to achieve the maximum degree of individualization and fine psyholohichnosti co-creation; 4) Trends timbre personification of domination, the emergence of the «theater of personalized tools»; 5) compliance with the «model makroansamblyu» (I. Polish) with features inherent ensemble performance, with the phenomenon orkestrovosti chamber ensemble expansion option is thinking; 6) the ability of the opposition «soloist» - «Orchestra» as the fundamental features solo playing concerts with the orchestra, and the phenomenon is the result orkestrovosti Chamber Symphony kamernizatsiyi thinking; 7) specific repertoire area designated by display subtle imagination and emotional nuances transferred Collective (orchestra) performance; parity between individual and collective reflection semantic pervniv; 8) concert and performing mobility. In conclusion we note that the study of the phenomenon of chamber and orchestral performance is long term, as the purpose of the study is provided for continuous updates.

Notices 1 For example, A. Kars results in the fact that in Westminster Abbey in 1784 there was an orchestra of 250 people, 157 of whom played on stringed instruments. [32] 2 See. Also: Rymanów G. Muzыkalnыy dictionary [Per. s Nam. BP Jurgenson, ext. n. Dep-tion] / G. Rymanów. - Moscow: DyrektMedya Pablyshynh, 2008. - CD-ROM.

References 1. Andriewsky VV instrumental chamber ensemble in the works of Lviv composers of the twentieth century. : Author. Thesis. ... Candidate. of Art. : 17.00.03 / Andriewsky VV; Lviv. nat. muses. Acad. them. Lysenko. - L., 2010. - 20 p. 2. Asafev B. Ways to future / Asafyev // Asafev B. O Music Tchaikovsky. - L. Music, Lenynhr. Dep., 1972. - P. 357-363. 3. Asafev B. Modern ynstrumentalyzm culture and ensemble // Novaya Music. First Year / Asafyev // Modern ynstrumentalyzm. Sb. 3. - LA: Triton, 1927. - P. 5-9. 4. Asafev B. O symfonycheskoy and kamernoy Music / Asafyev. - L. Music, 1981. - 216 p. 5. B. Asafev Russian Music nineteenth and beginning of the twentieth century / Asafyev. - 2nd ed. - L. Music, 1979. - 341 p. 6. Autograph Kamernыy Orchestra IA / IA Autograph // Music. эntsyklop. / Ed. V. Keldыsha. - Moscow: Sov. эntsykl., 1974. - T. 2. - P. 675-676. 7. IA Autograph book about orchestral / AI Autograph. - M. Music, 1969. - 231 p. 8. Autograph IA Essays on the history partyturnoy notation (XVI - The first floor. XVIII century) / I. Autograph. - Moscow: Mos. state. konservatoryya, 1997. - 571 p. 9. Hrabovska A. Trends in contemporary music and performing arts city in terms of academic chamber ensemble music: Dis. ... Candidate. mystetstvozn. : 26.00.01 / Hrabovska OS; Lviv. nat. muses. Acad. them. Lysenko. - L., 2008. - 189 p. 10. Wild NA chamber instrumental ensemble in Ukraine. Creativity and Performance (1960- 1980 gg.): Abstract. Thesis. ... Candidate. Art. : 17.00.03 / NA Wild; Art Inst., Folklore and Ethnology. MT Rila National Academy of Sciences of Ukraine. - 2001. - 19 p. 11. Zavyalov OK Vyolonchelnыe sonatы Beethoven (ansamblevыe zakonomernosty genre): Dis. ... Candidate. art. : 17.00.03 / Zavyalov OK; Nat. muses. Ukraine academy them. PI Tchaikovsky. - K., 2000. - 179 p. 12. V. Zaranskyy Ukrainian Violin Concerto / V. Zaranskyy. - L., spol, 2003. - 221 p. 13. Zinkevich OS Chamber music: To help the lecturer / O. Zinkevich. - K., 1967. - 17 p. 14. A. Kars History orchestration: Per. s English. / A. Kars. - M. Music, 1989. - 304 p. 15. Ksenofontova N. Kamernыy of the first orchestra in Music polovynы twentieth century (k typology problem orchestral writing): Abstract. Thesis. ... Candidate. art. : 17.00.02 / Ksenofontova NN; Moscow. state. canned. - M., 1984. - 24 p. 16. Kuznetsov IK piano concert: K history and theory of genre: Abstract. Thesis. ... Candidate. art. : 17.00.02 / IK Kuznetsov - M., 1981. - 25 p. 17. O. Marach academic choral art in socio-cultural continuum Western Ukraine Independence period (for example, Volyn): Abstract. Thesis. ... Candidate. Art. : 26.00.01 / Marach O.; Lviv. nat. muses. Acad. them. Lysenko. - L., 2013. - 235 p. 18. Otkydach VM Formation orchestral performance in Ukraine (in the context of national artistic culture): Abstract. Thesis. ... Candidate. Art. : 17.00.01 / Otkydach VM; Kharkiv. state. Inst culture. - H., 1997. - 19 p. 19. Polskaya I. I. Kamernыy ensemble: History, Theory, эstetyka: monohrafyya / AI Polskaya. - X: HHAK, 2001. - 396 p. 19. The Polish Chamber Ensemble II: theoretical and cultural aspects: Thesis. Thesis. ... Dr. Art. : 17.00.03 / Polish II; Nat. muses. Acad. Ukraine. Tchaikovsky. - K., 2003. - 35 p. 20. The Polish orchestra II (collective) Performance as a model makroansamblyu / IV // The Polish Science. app. Ternopil. state. ped. Univ them. V. Hnatiuk. Series: art. - T., 2001. - № 1 (6). - P. 48-51. 21. E. Preysman M. Kamernыy Orchestra: historically the formative process, Organizacziya work: Author. Thesis. ... Candidate. art. : 17.00.02 / Preysman E. M.; Gos. canned. Lithuania. SSR. - Vilnius, 1987. - 24 p. 22. E. Preysman M. Kamernыy orchestra. Historically the formative process, functioning problems / E. Preysman. - Krasnoyarsk: Publishing House of Krasnoyar. University Press, 1993. - 218 p. 23. Preysman EM Chamber Orchestra as a phenomenon in the musical culture of the XVII - XX centuries. : Dis. ... Doctor. Art. : 17.00.02 / Preysman EM; Novosibirsk State. canned. (Acad.) them. Glinka. - Novosibirsk, 1987. - 291 p. 24. Raaben L. Soviet instrumental concert / L. Raaben. - AL Music, 1967. - 308 p. 25. G. Riemann Music Dictionary [Trans. with it. BP Jurgenson, ext. Rus. Dep-tion] / of Rome. - MM: Directmedia Publishing, 2008. - CD-ROM. 26. Savitskaya NV stylistic tendencies of Ukrainian Soviet symphonic music 60-70s (for example, a chamber symphony): Abstract. Dis. ... Cand. Art. : 17.00.02 / Savitskaya NV; Leningrad. state. canned. them. Rimsky-Korsakov. - L., 1984. - 204 p. 27. Sverlyuk YV Dirigentsko orchestral Osvita: teorіya, methodology, practice: the monograph. / YV Sverlyuk. - K.: KNUKіM, 2007. - 235 p. 28. Sidelnikov LS Domestic symphonic performance. Past and Present: Author. Dis. ... Cand. Art. : 17.00.02 / Sidelnikov LS; Mosk. state. canned. them. Tchaikovsky. - M., 1987. - 24 p. 29. Adorno TW Philosophie der neuen Musik Neue Ausgabe / TW Adorno. - Frankfurt a. M.: Europaische Verlagsanstalt, 1958. - 204 s. 30. Allen W. D. Philosophies of music history. A study of general histories of music: 1600-1960 / W. D. Allen. - New ed. New York; Dover; London: Constable, 1962. - 382 p. 31. Carse A. The orchestra in the XVIII th century / A. Carse. - Cambrige: W. Heffer, 1940, 1950. - 176 p. 32. Pincherle M. L’orchestre de chambre / M. Pincherle. - Paris: Liblairie Larousse, 1948. - 74 p. 33. Riemann H. Musiklexikon. Bd. 3 / H. Riemann. - Mainz: B. Sohott’s sonne, 1967. - 1087 s. 34. Terry C. S. Bach’s orchestra / C. S. Terry. - London: Oxford university press, 1958. - 250 p.

Summary Proanalіzovano camp vivchennya phenomenon chamber orchestra vikonavstva, obґruntovano two tipis Chamber Orchestra («Orchestra Ensemble» i «malies Orchestra»), virіzneno rіvnі dіalogu have rіznih types of chamber orchestra vikonavstva, okresleno harakternі RISS vkazanogo phenomenon s point Zora Yogo semantics that komunіkativnoї spetsifіki (mobіlnіst, timbre personіfіkatsіya, «Іntrovertovany іntelektualіzm» іn minutes). Klyuchovі words: chamber orchestra vikonavstvo phenomenon, chamber orchestra, kamernіst, semantics, komunіkatsіya.

Summary Bura M. Vestibule-orchestral performance: typology, semantics and communicative specific Among the trends of culture that began to develop rapidly in the twentieth century and moving artistic progress today is the chamber. In this wave of musical art, on the one hand, formed the artistic sphere, which concentrated «intellectualism and psychology» (L. Raaben musical expression in difficult periods of the Soviet era, implemented in the work and AB Liatoshynsky contemporaries). Later chamber evident in composers of the sixties Stankovych, V. Silvestrov, L. Grabowski, M. Skoryk, I. Karabytsya and their followers – V. Kaminsky, A. Kozarenko, K. Tsepkolenko and others. artists. On the other hand, the chamber through one of its main features – Mobility – was the impetus for the emergence of a number of groups, and therefore – and powerful chamber movement orchestral, ensemble and choral singing that was in the 1960-s, but from the early 1990’s made it possible for Ukrainian artists touring abroad. Finally, chamber at the height of its development marked by diverse options for creative incarnations of drama and musical theater, literary, musical and pictorial miniatures. If these arts deepened the role of every character, every line, the colors, the orchestral thinking it led to the formation of a kind of «theater personified tools». Thus, the chamber orchestra performing today is an important event, so consider this topic relevant. The condition of studying the phenomenon of chamber and orchestral performance proved two types of chamber orchestra («Orchestra ensemble» and «small orchestra»), pointed out the level of dialogue in different types of chamber and orchestral performance outlines the characteristics of said phenomenon in terms of its semantics and communication specific (mobility, timbre personification, «introvertovanyy intellectualism», etc.). Thus, by making study of the phenomenon chamber orchestra, we can state the following: First, according to the definitions H. Riemann, justifying its two types: «Orchestra ensemble», which has cast a solo and ensemble micro method of internal communication, and «small orchestra» with a group of performers and macro-ensemble method their internal communications. Second, we distinguish level dialogue in different types of chamber and orchestral performance, reaching depths of inner dialogue as a binary process of the game individually performing field and enter the EU level in the process of communication «individuality» – «individuality» in ensemble performance, «individuality» – «Group» in concert performance and «group» – «Group» in the orchestra. And thirdly, summarizing all the above Grand view of chamber and orchestral performance, we conclude that this phenomenon is characterized by the following features in terms of its semantic and communicative specifics: 1) sensitivity to historical and social changes and rapid response to social processes; 1. «historical presence» and «dialogue periods» with their genre-stylistic phenomena; 3) showing trends intellectualism and psychology (L. Raaben) and the sense of intimacy, which, in our opinion, is defined as «introvertovanyy intellectualism» and is to achieve the maximum degree of individualization and fine psyholohichnosti co-creation; 4) Trends timbre personification of domination, the emergence of the «theater of personalized tools»; 5) compliance with the «model makroansamblyu» (I. Polish) with features inherent ensemble performance, with the phenomenon orkestrovosti chamber ensemble expansion option is thinking; 6) the ability of the opposition «soloist» – «band» as the fundamental features solo playing concerts with the orchestra, and the phenomenon is the result orkestrovosti Chamber Symphony kamernizatsiyi thinking; 7) specific repertoire area designated by display subtle imagination and emotional nuances transferred Collective (orchestra) performance; parity between individual and collective reflection semantic pervniv; 8) concert and performing mobility. Studying the phenomenon of chamber and orchestral performance is long term, as the purpose of the study is provided for continuous updates. Key words: chamber-orchestral performance, a phenomenon chamber orchestra, chamber, semantics, communication., Typology, Ukraine, musicology, cultural phenomenon, specificity, explore trends, instrumental work.

Annotation Boer M.J Chamber and orchestral performance: tipologіya, semantics and communicative specifics Considered phenomenon kaferno-instrumental performance, justified by two types of the orchestra («Orchestra Ensemble» and «small orchestra»); found levels of dialogue in the different types of chamber and orchestral performance, outlined the characteristics of the phenomenon sworn in terms of semantics and communicative specificity (mobility, timbre personification, «Introvertovany intelektualizm» and others.). Keywords: chamber and orchestral performance, a phenomenon, a chamber orchestra, semantics, communication. Nadіyshla to redaktsії 11/11/2014 p.

UDC 78.087.68 I. Kurylyak CHOIR OF drama in opera PETER Sokal

The second half of the nineteenth century. was the time of active development of music and drama in Ukraine. Almost simultaneously there is a layer of operas by Ukrainian composers. Since 1859, appear works by Sokal «Mazeppa» (1859), «May Night» (1863) (which remained unfinished) and «Dubno Siege» (1878). 1862 auspicious appearance of «Zaporozhets beyond the Danube» Gulak-Artemovs’kyj; in 1892 appears «Catherine» Arkas. A. This year Vakhnyanyn wrote the opera «Kupalo.» A first musical and dramatic works Lysenko - «Christmas Night» (1874), «drowned» (1883), «Chernomorets» (1872), «Taras Bulba» (1890). All these works certainly played a special role in the national opera. Despite the almost simultaneous occurrence, each of them has become a new stage of development of the national opera. Hence, the main components of musical and theatrical performances were in each of these different operas dramatic load. This includes choral episodes. Depending on the foundations of genre, plot, themes of the opera, the chorus as the spokesman opinion of the people, each time gets a new ideological and semantic content. The purpose of this exploration is to examine the functions of dramatic chorus in opera works of Peter Sokal. Creativity of Sokal considered a number of prominent scientists. History biographical aspect investigated Karysheva T., T. Bulat, L. Oleinik, G. Tyumyenyeva. An important contribution to coverage figures P. O. Sokal made Izvarina. Her scientific work on «Mykola Lysenko Peter Sokal. «May Night» Gogol and Gogol theme in Ukrainian opera «highlights some little known archival materials on the career of the composer [2]. The analysis revealed a number of features creative handwriting of the artist. However, the question of choral component in his operatic works not yet become the subject of a detailed investigation of these scientists. Relevance of the article caused increasing interest to scientists studying modern operatic works of local composers, including Mr. Sokal. Advanced origin and path of becoming an opera genre in Ukraine held for a longer period. Foreword her appearance became Ukrainian folk performances associated with pagan, Christian rites, school drama. Considerable impulses to create an opera genre pieces provided Kotlyarevsky, Kvitka-Osnovyanenko where dialogically poetic scenes accompanied by music addition. And it is the emergence of the opera «Zaporozhets beyond the Danube» Gulak-Artemovs’kyj (1862), with music advantage over false dialogic episodes, was the crown of long-term development. Along with soloists, important value is the dramatic chorus. He is the spokesman of the views, aspirations and wishes of the Ukrainian people. In dramatic terms, he not only plays the role of a commentator of events that echoed with ancient drama, but also active dialogue interlocutor. Involvement in the final chorus of the opera promotes opera, giving the sound a special spiritual elation. Therefore, as an expression of the collective chorus principle is an important common unit dramatic stage action. As you know, the presentation of the opera by S. Hulak-Artemovs’kyj held in St. Petersburg at the Mariinsky Theatre. During the first performance in the hall was present young Ukrainian composer M. Sokal. Having not only music (not graduated from the St. Petersburg Conservatory), but also educated chemist, he was extremely diverse artistic and gifted person. His talent manifested both in the music sector (author of operas, cantatas «Seasons of Peter the Great», piano fantasies («Ukrainian evening», «On the banks of the Danube»)) as an active public figure (Secretary consul in America), but also as a writer (many years he worked in newspapers and magazines - «the Odessa Bulletin» «St. Petersburg Vedomosti», which placed the musical satires and critical articles [1, 149]. One of his comments concerned the premiere of the opera «Zaporozhets beyond the Danube» Gulak-Artemovs’kyj. Note that the review was quite critical. The reviewer noted that «neither its libretto (Opera), or music does not pretend to any special decision problems and, in fact rather colorless ... and the orchestra is humility and simplicity [...].» In summary, the researcher said - «not proclaim a new sentence operetta because it frees itself from this lack of any claims. With the advent of not introduced anything new in art, everything remains in place «[4; 141]. Sharp comments on the work that was actually the first example of Ukrainian opera genre, indicate that Mr. Sokal, having at least incomplete, however professional musical education, had their vision of creating Ukrainian opera. Perhaps it is also due to the artist’s outlook, which was formed under the influence of «kuchkistiv.» The cultural center, which was communicating with Stasov, Balakirev, Cui fellowship with Dargomyzhsky [1; 149] to a certain extent Sokal encouraged to review the genre features of opera. So the composer was trying to create an opera like that would meet requirements. That genre of opera is one of the leading places in the works of the composer. The first samples of music and drama genre related to the 60 years of the nineteenth century .: opera «Mazeppa» (1857-1859 gg.), «Bohdan Khmelnytsky» (or «Struggle for Ukraine», 1862) and «May Night» (1962-1863 gg.). Given the fact that the end of the opera were not completed by the composer, and stage productions only saw fragments «May Night», it is evident that these operas played a minor role in the development of Ukrainian music and drama. However, from a position of reasonable historical perspective to highlight the point that in the opera «May Night» composer completely abandoned conversational dialogues. Considering the dramatic load of individual components theatrical action, we note that Sokal gives Choir increasingly greater role, although its «functional values (including the opera» Mazeppa «) remains as a commentator and spokesman ideological essence of the work [3; 64]. « Choir as the spokesman opinion of the people appearing in the most dramatic moments in expressing feelings and thoughts, thoughts of the protagonist. Such dramatic chorus load close to the prototype musical drama of antiquity. Although expressions of the composer, in particular, which he left in drafts preface to «May Night», reveal a very different position. His reasoning - «I carefully looked at the people - seriously looked into the soul ... I ... just want to play music in real life» [3; 65]. If the earlier composer’s operas desire still remained at the level of desires, the mature opera «The Siege Dubna», which appeared in 1879 Sokal was able to implement a program already in a practical way. Address of the composer’s heroic and patriotic themes in an active national oppression is a cultural challenge to the current government. Composer sought to fully depict the unbreakable spirit of the Ukrainian people in their struggle for freedom. This desire to see the story through the choice of composer, namely Gogol’s story «Taras Bulba». The period of national liberation struggle, killing the son of a father for betraying the fatherland become nodal centers of musical drama. The image of the hero Taras Bulba central to the composer closely associated with the Ukrainian people. In this regard, its appearance is often accompanied by the sound of the choir. Hence, mass choral scenes is particularly important in the overall drama of opera. Choir significant role in the overall concept of the opera itself noted Mr. Sokal. Noting that «domestic scenes - in contrast doctrinaire who hypocritically preach that they delay the progress of drama - I gave special importance for the libretto Taras Bulba is primarily a heroic epic, and drama in it - an episode that takes dramatic content only at full light of his everyday life «[3; 202]. From this position noteworthy national and domestic scenes of action. Their function is to traditions and color reproduction Ukrainian village. Thus, immediately after the orchestral prologue at the start of the chorus sounds villagers «Oh, How vыydesh at Green Meadow.» The people gathered in front of the estate of Colonel Cossack Taras Bulba is portrayed in peacetime. Carefree young men and women dancing, singing, reproduce realistic people’s everyday scene. Number built on the principle of dynamic growth. An interesting piece of the first act is another sketch of household in which people continue their daring fun. Humorous folk song «Oh, cooked quinoa turtle» is expanded to canvas opera. Based on the verse-chorus form the original source, Mr. Sokal builds a number of cross-cutting development. Note that permeated the whole scene pisenno- Ukrainian dance intonations. In the choral presentation especially emphasize the presence of typical folk echoes, use unison postings and use of a minor episodes («I hear you. The old grandfather») IV acute high degree of grace notes. Mr. Sokolsky In Opera repeatedly refers to the original folk songs. Thus, in the holiday scene in the tavern of Cossacks II actions composer symbolically introduces several folk designs. Played by Cossacks sound processing «Went Grits,» and then the song «Oh, drinkers, so pour.» Mr. Sokolsky tries to recreate the spirit of Ukrainian folk songs, so in unison or limited treatments tertsiyevo sekstovym-sounding male voices. Note that in this scene composer occasionally inserts cries individual Cossacks. This principle of separation of choral masses of vivid characters, calling for actions of an individual and provide them effective roles were characteristic of intake line in some dramatic scenes of leading opera. In the first action of the emergence of any major character of the work is always accompanied dialogic inserts from the people. No matter whether it is the appearance of an old beekeeper from Lithuania - Titus, or appearance of the T. Bulba, the choir always reacts to the action of a character, demonstrating an active role in the deployment of the storyline. One of the brightest moments of the opera, in which some choral groups act as individual actors, stage Zaporozhye Council is the second action. Cossacks, Being dissatisfied kosh, require him to resign. Thus, the stage actors characters except T. Bulba and Koshevogo become three elders, men’s choir and two groups Zaporizhzhya allocated from the crowd. It chorus in this scene is the driving force of development. Naskriznist construction formed by successively joining imposition and sometimes replicas of individual characters. Dialogic insertion Cossacks built on rising intonation questions. Tonal shifts (literally from the beginning of the first period in b-moll, and the second in h-moll), interrupted by pauses and normal dotted rhythm accompanied by melodic intonation give the Cossacks heroic and militant sound. Composer puts the focus is on the dominant feature of the choir, since he passes sentence on the selection of a chief. In this case, insert certain groups are transformed into concise declamatory utterance that enhanced chromatic passages orchestra. Naskriznist deployment drama involving the characters from the crowd Sokal conceptual thought about, since the start writing opera. Referring to writing to Borodin, the composer said, - «as such almost all the action will be presented as a series of choruses ...» [3; 212]. These visions Sokal observe the influence of Russian traditions, including the use of some means «mighty booths.» Draw a conventional parallel historical operas by Mussorgsky. In particular, in the prologue to the opera «Boris Godunov» is such a division into separate choral groups and provide them with separate self-driving role. Thus, people are not acting as a passive observer, but as an equal with other actors in the scene. This principle is made possible by the involvement of «small role» with choral array. Chorus is a full participant in the scene not only Cossack Council, but completely all actions. However, also note that if in certain episodes he is given a separate self-importance, the other - it still remains commentator of events that occur. In particular, the scene «stories about events in Ukraine» after Ostap delivered, and subsequently T. Bulba, male chorus repeats the basic idea dialogically stories as separate musical phrases (such as the text «Uzhasno! There was a hard time to,» etc. ). The highlight of the show is the Ukrainian Cossacks final chorus of the second act «for the protection of Otchyznы there.» In figurative load, character, he worshiped functional proximity with male chorus «Hey, not surprised» with the third act of the opera «Taras Bulba» Lysenko. These two numbers are symbolic imagery and emotional peak in the deployment and revealing the image of Ukrainian Cossacks. Note that even fourths move downward with subsequent tetrachord filling in tonal chorus line, dotted rhythm accompanied causing allusion to the tune of Ukrainian folk song «Hey, is not surprising dobriyi people.» Heroic and patriotic spirit of the composer plays through choral timbre saturation parties. Statement in unison male voices in the first part of a special offer sound density and dynamism. The middle part (written in the same key of F-dur) became the anthem-appeal. The motto parties, involving high tesyturnoho range, providing sound much elevation. However, saturation accompaniment ascending and descending passages returning to the middle of the second period to the minor key (a-moll) introduces an element of anxiety, with the same courage and endurance. The apotheosis of repryzove event theme is in the key of c-moll. The maximum dynamic sonority, the boundary limits tesyturni choral parties saturation chord accompaniment features give the theme of the march, symbolizing the same attention and samozhertovnist in achieving the ultimate goal. We emphasize that reveals the multifaceted image of the people, mostly the first two actions. During this time the composer highlights some pictures of people’s lives that are musically reproduced by attracting some song and dance intonation, and in some cases, original folk melodies. Next action III camp devoted to the characterization of the Polish nobility. Creating contrast warring camps, Sokal both dramatic and planes in the music tries to oppose them. Thus, in the past because of the actions of development was expanded through the scene, with the active involvement of the choir, in the next step the focus is shifting to solo. III action center is lyrical opera. Therefore, the main stage complication arises between the Polish governor daughter Ursula and Andrew. Maid Aglaia, a Catholic choir Pater and provide background on which it takes effect. Reproducing images named the new environment, Sokal introduces the most striking features of the Polish national musical culture. In particular, the Cavatina Andrew «Miss Krasavytsa» penetrate valsovosti features, and accompanied by a characteristic present fihuratsiyni, ariozno arpedzhovani-busting. The individual characteristics of heroes and reinforced the collective image of the nation. At the beginning of the chorus of citizens’ Woe, woe to us «introduces listeners to new and imaginative musical sphere. Mixed choir chord statement as dvotaktovyh phrases sound reminds Catholic chorale. In the future deployment storyline choir acts as commentator and support events. Confirmation of the following is the next stage (III and action painting) entitled «Prayer.» Dramatic forms of real choral scene where the dominant and leading are pleas Miss Ursula. The choir, which is the composer’s wishes on behind the scenes, superimposed on the solo part. In summary, we note that Mr. Sokal has created the first sample heroyiko- Ukrainian patriotic opera. With some deficiencies directly related to the structure of the work (scale, dramatic conflict), it still was a significant step in the formation Ukrainian opera (no spoken dialogue). Artistic environment where was Mr. Sokal, influenced the formation of his philosophy of writing and composing, and this, in turn, manifested through a synthesis of traditions of Russian and Ukrainian cultures. This combination turned out at different levels of musical drama work, including the importance of choral component opera. Thus, following the tradition of composers, the choir as a reflection of the people in some episodes of becoming one of the protagonists of the drama. These are deployed through-stage development with its active involvement, particularly in the first and second steps. It should be emphasized that the removal of the chorus of individual characters, making them independent party dialogue shows the realistic portrayal of the image of the people. Proof of this is a bright, dynamic scene selection Kosh from the second action. In some dialogical inserts replicas from the crowd based on concise, declamatory utterance that brings together they, along with expressive recitative Mussorgsky. Drawing parallels with Russian tradition, we note the reception display warring camps. Reproducing images of the two peoples, Sokal attracts most characteristic musical features. Show similar principle involving the Polish camp characteristic elements such musical culture meet in the opera «Ivan Susanin» by Mikhail Glinka. On the other hand, appeal to M. Sokal Ukrainian subjects, the desire to show the Ukrainian people in different life circumstances, to portray his integrity and multifaceted, evidence of commitment to national traditions. This also indicates the involvement of national and intonation of lyrical material in domestic genre sketches opera (the first chorus of the «Vыydem on Green Meadow»). Thus, synthesizing the traditions of two cultures, the choir as a reflection of the image of the people in the opera, in some moments becomes effective self-sufficient entity, the so-called driving force of the storyline, while others still remain commentator of events or submit lyric everyday genre sketches.

References 1. Arhimovych Ukrainian classic opera LA East. essay / L. Arhimovych. - K: Fine art and music literature, 1990. - 311 p. 2. Izvarina Mykola Lysenko O. Peter Sokal: «May Night» Gogol and Gogol theme in Ukrainian opera: Dis. ... Candidate. Art. : 17.00.03 / OM Izvarina; Nat. muses. Acad .. im. Tchaikovsky. - K., 1996. - 195 p. 3. Karysheva T. P. Sokal: essay on the life and work / TP Karysheva. - K.: Gos. t- t obrazotv. Arts and music. l, and the USSR, 1959. - 277 p. 4. L. Kaufman SS Gulak-Artemovsk / LS Kaufman. - M. Music, 1973. - 168 p. 5. The roots of Ukrainian Leonid school drama and spiritual music XVII - the first half. XVIII century. / L. roots. - K., 1993. - 185 p. 6. Cherkashina MR Opera XX Century: Essays / MR Cherkashina. - K., 1981. - 208 p.

Summary Reveals the issues mentioned in the opera chorus M. Sokal. On the example of opera «May Night», «Siege Dubna» the author defines the functions dramatic choral numbers, their importance for Ukrainian opera second half. Nineteenth century. Keywords: Ukrainian opera, opera dramatic structure, function choir. Summary Kurylyak I. Dramatic function of the chorus in the opera Peter Sokalski The second half of the nineteenth century. was the time of active development of music and drama in Ukraine. Almost simultaneously there is a layer of operas by Ukrainian composers. Since 1859, appear works by Sokal «Mazeppa» (1859), «May Night» (1863) (which remained unfinished) and «Dubno Siege» (1878). 1862 auspicious appearance of «Zaporozhets beyond the Danube» Gulak-Artemovs’kyj; in 1892 appears «Catherine» Arkas. A. This year Vakhnyanyn creates opera «Kupalo». A first musical and dramatic works Lysenko – «Christmas Night» (1874), «drowned» (1883), «Chernomorets» (1872), «Taras Bulba» (1890). All these works certainly played a special role in the national opera. Despite the almost simultaneous occurrence, each of them has become a new stage of development of the national opera. Hence, the main components of musical and theatrical performances were in each of these different operas dramatic load. This includes choral episodes. Depending on the foundations of genre, plot, themes of the opera, the chorus as the spokesman opinion of the people, each time gets a new ideological and semantic content. The article highlights the issues mentioned in the opera chorus M. Sokal. On the example of opera «May Night», «Siege Dubna» the author defines the functions dramatic choral numbers, their importance for Ukrainian opera second half. Nineteenth century. By carrying out the study, the author argues that Mr. Sokal has created the first example of Ukrainian heroic and patriotic opera. With some deficiencies directly related to the structure of the work (scale, dramatic conflict), it still was a significant step in the formation Ukrainian opera (no spoken dialogue). Artistic environment where was Mr. Sokal, influenced the formation of his philosophy of writing and composing, and this, in turn, manifested through a synthesis of traditions of Russian and Ukrainian cultures. This combination turned out at different levels of musical drama work, including the importance of choral opera component. Thus, following the tradition of composers, the choir as a reflection of the people in some episodes of becoming one of the protagonists of the drama. These are deployed through-stage development with its active involvement, particularly in the first and second steps. It should be emphasized that the removal of the chorus of individual characters, making them independent party dialogue shows the realistic portrayal of the image of the people. Proof of this is a bright, dynamic scene selection Kosh from the second action. In some dialogical inserts replicas from the crowd based on concise, declamatory utterance that brings together they, along with expressive recitative Mussorgsky. Drawing parallels with Russian tradition, we note the reception display warring camps. Reproducing images of the two peoples, Sokal attracts most characteristic musical features. Show similar principle involving the Polish camp characteristic elements such musical culture meet in the opera «Ivan Susanin» by Mikhail Glinka. On the other hand, appeal to M. Sokal Ukrainian subjects, the desire to show the Ukrainian people in different life circumstances, to portray his integrity and multifaceted, evidence of commitment to national traditions. This also indicates the involvement of national and intonation of lyrical material in domestic genre sketches opera (the first chorus of the «Vыydem on Green Meadow»). Thus, synthesizing the traditions of two cultures, the choir as a reflection of the image of the people in the opera, in some moments becomes effective self-sufficient entity, the so-called driving force of the storyline, while others still remain commentator of events or submit lyric everyday genre sketches. Key words: Ukrainian opera, opera dramatic structure, function choir, music, domestic drama, opera classics, the second half of the nineteenth century, intercultural context P.Sokalskyy, classical music, creative legacy.

Annotation Kurilyak I. dramatic function of the choir in the opera Peter Sokalskogo Rassmatrvivaetsya value in the opera chorus P. Sokal. For example, the opera «May Night» «The siege of Dubno» determined dramatic choral function rooms, their importance for the Ukrainian opera art of the second half of the XIX century. Keywords: Ukrainian opera, the dramatic structure of opera chorus function. Nadіyshla to redaktsії 10/20/2014 p.

UDC 785: 780.647.2 B. Kislyak

WORKS TRANSCRIPTIONS OF CLASSICAL MUSIC FOR AN ENSEMBLE OF ACCORDIONISTS AS A FACTOR OF ACADEMIC PERFORMANCE

Formulation of the problem. The main problem of this paper is a synthesis of research on this topic, the need for a comprehensive review commonplace-ensemble performance as a result of expansion commonplace repertoire through transcriptions. The existing scientific base in modern tse accordion music constantly supplemented with new research. The need for specialized theoretical research due generalization studied material to understanding the specifics commonplace artistic ensemble. Analysis of the research. Devoted to the topic outlined a number of works. Extensive work is particularly «Theoretical Foundations transcriptions of instrumental pieces for accordion» M. Davydov [2], in which the basic principles of the arrangement for accordion, as well as artistic and expressive possibilities of the instrument, the analysis of works translated for this instrument. Equally important contribution made by such prominent themes accordionists, teachers as L. Stepanov [1] B. Stranolyubskyy [7] A. Surkov [8] and others. They published a number of investigations concerning transcriptions for accordion, but without the proper analysis commonplace-ensemble work. The purpose of the article is to create a holistic view to the creation of transcriptions for bayan ensembles as a factor of academic performance. Presenting main material. In a complex artistic processes end XX - the beginning of. in particular updating national instrumental practice, including orchestral (ensemble) commonplace-accordion performance, is the problem of forming a balanced and varied artistic repertoire, stylistic guidelines that corresponds to modernity. This informative and highly repertoire is the basis of a comprehensive natural abilities of performers, directors of artistic groups (orchestras, ensembles, etc.) of different levels of professionalism, musical thinking, enrich the concert experience performing like. At the present stage musical and historical development of the existing original orchestral and ensemble repertoire in domestic commonplace accordion-performance represented mainly works of Ukrainian composers. However, despite the high artistic quality of most copyright opus, a whole repertoire is not numerical. And so in lack of the latter, the extension become artistic transcriptions and arrangements of the best examples of world musical heritage of a particular orchestra or ensemble bayan [3]. Evolution of academic folk instrumental performance contributed to the emergence of a chamber ensemble featuring folk instruments combined with classical, duet accordion and violin «Cadence» (I. and A. Yergiyev, Odessa), accordion and organ duo (and I. A. Dube Harechko, Kyiv), the duo accordion and bandura (Yu and L. Fedorov, Kyiv), the duo of accordion and cello ( E. and G. Cherkazova Nuzha, Kyiv), and flute duo Bandura (Alexander Gerasimenko and K. Nemesh, Lviv) and others. Because of insufficient own original works of the classical music repertoire was the basis for the formation of academic principles commonplace ensemble performance. Demonstrate high professional level musicians in his work actively use masterpieces of classical art - Bezfamilnov V., Belyaev, Y. Kazakov, E. Mitchenko. They proved that they can be a tool not only domestic carrier melodies but music Philharmonic type [2]. Important role in the repertoire of the ensemble bayan occupy artistic arrangement works of world classics that allows ensemble to trace the evolution of music, feel the historical and stylistic and genre features music of different times, promotes the professional skills of musicians, encourages them to seek specific tricks that bring the sound of the ensemble accordion sound to the original, expanding the expressive possibilities of bands, incorporate a wide audience listening to the best examples of world treasury of music. As a result, shifting samples of classical music for accordion, expanding zvukovyrazhalni and impressive features of this tool enhances professional accordionists-performers. First author transcriptions included in pedagogical and concert repertoire of accordionists were Mr. Gvozdev, VA Tyurikov, V. Rozhkov, G. Tyszkiewicz and others. These samples are characterized by respect for the author’s text and all signs of the original. The essence of the arrangement was to easy to perform on the accordion distribution elements invoices between keyboards, the proper identification of chords and record them in accordance with sound ready commonplace chords and bass. Accompaniment performed his left hand. The choice of works was determined to accomplish it polyphony, and the design of the left keyboard instrument [4]. But not always preserve the musical text of a musical work suggests saving his ideas. One or other type of presentation, designed for creating music image reflects not only the severity of individual elements of a texture, but also the required ratio between them, holosovedinnya clarity, completeness sound. Thus, in some cases literally saving the original presentation a positive effect, while others - leads to distortion of the content of the work [5]. Another important artistic plane in the repertoire of ensemble and orchestral groups Bayan are handling domestic and intonation folk melodies focused on playing folk imagery, contributing to strengthening open emotion, colorful instrumental sound, sincerity musical expression. «Folklore» component repertoire - for natural tse accordion performing sector. Definitions instrument became popular not only in domestic music practice, but also in the implementation of the convenience to them. The widespread use of the repertoire ensemble bayan works of various styles, genre, character and technical features, caused the diligent processing of musical material. For many transcriptions later period characterized by a desire to preserve and convey the essence means accordion musical work, efforts to enrich the arsenal of technical and artistic means of expression accordion. The new arrangement put before the executor problem whose solution required a higher degree of technical and artistic skills. Justification principles of transcription and editing works for accordion belongs prof. M. Gelis. These principles are reflected in the practical works many teachers-pianists, including Rizol M., I. Alexeev, C. Prokopenko, Oberyuhtina M. et al. They used techniques that are often repeated and suggest a new approach to transcription, interpretation and expressive artistic and technical capabilities accordion. Widely used shortening the voices that act as support [7]. Through the use p’yatypaltsevoyi fingerings was possible performance on the accordion complex works, including «Carnival» by R. Schumann, Scherzo in B flat minor Chopin, «Spanish Rhapsody» Liszt, the series «The Seasons» by Tchaikovsky, concerts and .-WITH. Bach and others. Often the choice of music for transcription driven by sound similarity tools. The programs accordionist Alexander Belyaev significant place belongs organ works, including organ preludes C. Frank, organ fusion of fantasy and minor JS Bach, Concerto in D minor Vivaldi - JS Bach and others. Due to the similarity of the sound of the organ and accordion are used less special techniques to preserve organ colors than when dealing with heterogeneous timbres [1]. The repertoire of the quartet Kiev State Philharmonic nearly 150 works, among them - the Unfinished Symphony of Schubert (part 1), Overture Beethoven «Egmont» Overture to Glinka «Ruslan and Lyudmila» and the opera Lysenko «Taras Bulba», Symphony in G minor by Mozart, Dancing with Khachaturian ballet «Gayane» and works written for accordion by Soviet authors. And the main place in the repertoire of the quartet occupied processing written by band leader M. Rizol - talented resourceful instrumentatorom which has great technical capabilities accordion. From 1958 home recording Union made a series of recordings of the ensemble accordionist, who led the winner of VI World Festival of Youth and Students V. Rozanov. All entries entered the golden fund. Impromptu S. Harutyunyan, Eastern melody Rachmaninov and Beethoven sonata for cello were written, accompanied by an ensemble of accordionists famous cellist prof. C. Knushevitskim. People’s Artist of the USSR Lemeshev S. ensemble performed with a cycle of songs by Tchaikovsky. The skill bayan ensemble consisting of artists such as S. Kolobkov, Vladimir Fedoseyev, Yuri Chekanov, A. Rezchykov, Alexander Belyaev, A. Surkov, S. Halantsev, S. Gusev, M. Lytkevych undoubtedly high [6 ]. However, the programs Belyaev has a large number of works translated by him for accordion with instruments with a great sound of accordion - harpsichord, piano, violin (F. Ramo - L. Hodovskyy - tambourine, N. Paganini - Liszt F. - «Campanella», «Hunting»). Trend instrumental objectification performed transcriptions appeared in other works commonplace interpretations of ancient times. Indicative Bayan appeal in particular to harpsichord music. Academic performance style harpsichord works inherent V. Besfamilnovu. In the interpretation of «Cuckoo’s» L. Dakena Kyiv accordionist significantly narrows the range of facilities vyrazovoho intonation: low tone slow motion, monotonous dynamics, balanced precise rhythm. Guidelines bayan ensembles at the historical performance reflected their desire to achieve compliance with the criteria of academic art. Despite the lack of creative initiatives Bayan their inheritance was positive, because the similarity criteria stimulated initiatives prudent professional, correct implementation. Attempts objectification features instrumental intonation complex organ, harpsichord works showed intention to play bayan adequate academic performance art product creativity [8]. Impact transcriptions of early music was to expand artistic and stylistic ideas bayan ensembles and positive changes in their executive thinking. Last evolved from everyday sensual tone to the image-sound ideals prevailing academic tradition of its regulated culture of sound. Among transcriptions for accordion prominent place occupied piano works. On this occasion, the famous Russian composer Kabalevsky put it: «In principle, object to the performance on piano accordion works can not - accumulated vast experience which shows that the accordion hidden these features, none of which previously had no idea. Bach on the accordion has already become, as far as I know, all recognized phenomenon. And not only Bach «[2]. Expanding the boundaries of instrumental zvukovyraznosti allowed accordionist substantially add to your repertoire of piano music, including previously inaccessible to them large-scale works, including Sonata number two Mozart, Hungarian Rhapsody №11 Liszt, «Rhapsody in Blues» J. Gershwin - performance E . Mitchenko and others. Of course, any translation, in fact, entail certain changes perversion of the original composer’s intention. This is due to the fact that the means of expression and piano accordion significantly different. Commonplace piano sound inferior in its richness and overtone in no accordion effect pedal. These features associated with the use of pedals is not always taken into account in the arrangement for accordion. That is why some piano works sometimes lose their artistic characteristics (quality) sound vaguely. Therefore, in each case, the issue should be approached creatively pedalizatsiyi based on the content of the songs and given stylistic features of the work, invoice presentation, dynamics, register, pace and more. Examples simplified interpretation of piano performance supplement commonplace marked losses fonichnoho effect pedal piano, which usually have depleted the sound result. Therefore, it deformed the original instrumental sound image. This type of arrangement seen in executions E. Mitchenko «The Trinity» by Tchaikovsky and «Thoughts» by Tchaikovsky A. Poletaeva. Musicians formally reproduce musical scores, virtually excluding fonizmu pedal. Without their means of partial compensation commonplace-textural agents get a color offset sound image. Broad representation in commonplace repertoire of piano transcriptions led to their important role in shaping the professional skills of performers. After an extraordinary variety of images and genre-stylistic features of these works contributed to the expansion of artistic representations of musicians promoting their culture and sound technical skill. Noticeably more modest are commonplace in the genre repertoire of other types of transcriptions - vocal and violin pieces. Last received spread mainly in the work bayan 70-90 years, for example, H. Wieniawski - Scherzo-Tarantella (browsing. M. Sevryukova), P. Sarasate «Gypsy melodies» (Vick. Fenyuka PA) and others. Limited use accordionist violin literature due to the remoteness of the specific timbre of instruments and related problems adequately play the accordion sound characteristic aura. Virtuoso violin works by Paganini, Vivaldi, C. Saint-Saens and others. - Not uncommon in concert programs Ukrainian bayan ensembles. Performing classical violin concert stimulated brilliant virtuoso style and intimate naspivnist lyrical tone, based on high sound culture of musicians (Zubytsky B., S. Grinchenko Fenyuka PA) [4]. Therefore, the author should be aware of shifting its main task - using an orchestra or ensemble of accordion and accordion to create a new version of the musical work that would meet the most figurative and emotional content of the original and convincingly showed the tremendous intonation and imaginative, artistic and technical potential of the orchestra bayan. The selection of works for implementation requires, above all, take into account the professionalism of each member musical group, its technical capabilities, the ability to communicate to the audience the artistic content of the work performed. Conclusions. Thus, mastering accordionist «classical repertoire» stimulated the rise of performance culture. An important prerequisite for approaching ensemble performance commonplace to academic art of the musicians was the transition from the empirical to the intuitive-rational forms of instrumental and expressive means. Further strengthening academic positions accordion demanded his identification with classical instruments in the achievements of compositional creativity. But despite the importance of the classical heritage commonplace interpretation transcriptions still associated with the secondary art in relation to the works performed in the original instrumental version. Therefore commonplace assertion ensemble performance in an academic environment, it must be primarily highly original works that have emphasized his unique instrumental expressiveness.

References 1. Stepanov accordionist L. Work on piece of music / L. Stepanov. - K.: Music. Ukraine, 1982. - 52 p. 2. Davydov Theoretical foundations shifting instrumental pieces for accordion / M. Davydov. - AK: Moose. Ukraine, 1977. - 14 p. 3. V. Zynovev Ynstrumentovka fortepyannыh proyzvedenyy for orchestra bayanystov / B. Zynovev. - Moscow: Sov. Composite., 1977. - 76 p. 4. M. Ymhanytskyy Improvement ensemble Mastery bayanysta / M. Ymhanytskyy. - Moscow: Republic. method. room. M-va culture RSFSR, 1989. - 39 p. 5. Lyps F. O perelozhenyyah and transkryptsyyah / F. Lyps // Bayan and bayanystы. - Vol. 3. - Moscow: Sov. Composite., 1977. - 86 p. 6. Ryzol N. Essays on the work in the ensemble bayanystov (based quartet Experience bayanystov the Kiev fylarmonyy) / N. Ryzol. - Moscow: Sov. Composite., 1986. - 222 p. 7. Stranolyubsky B. Benefit Arrangement of music for accordion / B. Stranolyubsky. - M.: Music, 1962. - 46 p. 8. Surkov A. Arrangement of music for free bass accordion / Surkov, V. Pletnev. - M.: Music, 1977. - 76 p.

Summary Rozglyadayutsya bayannі transkriptsії klasichnih tvorіv scho stanovlyat fixed assets have zbagachennі repertoire ansamblіv bayanіstіv zadlya been approved, bayan vikonavstva in akademіchnomu seredovischі. Klyuchovі words: akademіchne vikonavstvo, іnstrumentalnі perekladennya, ansamblі bayanіstіv.

Summary Kyslyak B. Transcriptions of works byclassical musicfor bayanas a factor of academic performing At the present stage musical and historical development of the existing original orchestral and ensemble repertoire in domestic commonplace accordion-performance represented mainly works of Ukrainian composers. However, despite the high artistic quality of most copyright opus, a whole repertoire is not numerical. So in a lack of appropriate expansion of the latter by means of artistic transcriptions and arrangements of the best examples of world musical heritage of a particular orchestra or ensemble of accordionists. Considered commonplace transcription of classical works that make up the basic foundation to enrich the repertoire of ensembles Bayan commonplace to strengthening performance in an academic environment. Evolution of academic folk instrumental performance, noted in an article contributed to the emergence of a chamber ensemble featuring folk instruments combined with classical. After all, the classical music repertoire was the basis for the formation of academic principles commonplace ensemble performance. First author transcriptions included in pedagogical and concert repertoire of accordionists were Mr. Gvozdev, VA Tyurikov, V. Rozhkov, G. Tyszkiewicz and others. These samples were characterized by respect for the author’s text and all signs of the original. The essence of the arrangement was to easy to perform on the accordion distribution elements invoices between keyboards, the proper identification of chords and record them in accordance with sound ready commonplace chords and bass. Accompaniment performed his left hand. The choice of works was determined to accomplish it polyphony, and the design of the left keyboard instrument. The new arrangement put before the executor problem whose solution required a higher degree of technical and artistic skills. Justification principles of transcription and editing works for accordion belongs prof. M. Gelis. Trend instrumental objectification performed transcriptions appeared in other works commonplace interpretations of ancient times. Indicative Bayan appeal in particular to harpsichord music. Among transcriptions for accordion prominent place occupied piano works. Expanding the boundaries of instrumental zvukovyraznosti allowed accordionist substantially add to your repertoire of piano music, including previously inaccessible to them large-scale works. Limited use accordionist violin literature due to the remoteness of the specific timbre of instruments and related problems adequately play the accordion sound characteristic aura. Thus, accordionist mastering classical repertoire stimulated the rise of performance culture. An important prerequisite for approaching ensemble performance commonplace to academic art of the musicians was the transition from the empirical to the intuitive-rational forms of instrumental and expressive means. Further strengthening academic positions accordion demanded his identification with classical instruments in the achievements of compositional creativity. But despite the importance of the classical heritage commonplace interpretation transcriptions still associated with the secondary art in relation to the works performed in the original instrumental version. Therefore commonplace assertion ensemble performance in an academic environment, it must be primarily highly original works that have emphasized his unique instrumental expressiveness. Key words: academic performance, instrumental arrangement, bayan ensembles, classical music, the expressive possibilities of the instrument, the evolution of musical performance, a national school of instrumental, composers, folk instruments, modernity.

Annotation I. Kislyak translations of classical music for bayan ensembles as a factor in the development of the academic performing Considers Bayan transcription of classical works that make up the basic foundation to enrich the repertoire for approval Bayan bayan performance in the academic environment. Keywords: academic performance, instrumental transcriptions, bayan ensembles. Nadіyshla to redaktsії 11/11/2014 p.

UDC 78,072 N. Fedornyak-Savchuk UKRAINIAN FOLKLORE OF I YOGO TRANSFORMATSІYA HAVE VIKONAVSKІY TVORCHOSTІ VASILY POPADYUK (CANADA)

Suchasnyj muzichne vikonavske Mistetstvo submission rіznomanіtnimi stilovimi i genre directly. Vono vklyuchaє profesіynu kompozitorsku tvorchіst, sleep tvorchіst folk - folk i rіznomanіtnu for stilovimi directly i genres estradnu masovogo Musica, scho ohoplyuє jazz, pop rock i Musica. Ostannіm hour posilyuєtsya іnteres to folklore, zokrema authentic. Narodna Musica, yak vіdomo, mіstit have sobі Especially efekt vplivu on pіdsvіdomіst listener i have bіlshostі vipadkіv poєdnuєtsya s usіma Suchasnyj muzichnimi genres scho robit її shte populyarnіshoyu. In zv’yazku s tendentsієyu ob`єdnannya crops rіznih narodіv (globalіzatsіya) scho sposterіgaєtsya on mezhі XX-XXI stolіt, vіdbuvaєtsya vzaєmoproniknennya rіznih yavisch muzichnogo Mistetstvo. Butt tsogo Mauger Buti vzaєmovpliv i navіt synthesis such zdaval used, printsipovo rіznih yavisch, yak jazz, rock, pop music will i folklore. Іsnuvannya folklore in XX-XXI Art. not deprivation yak okremoї the Branch muzichnoї crops and yak warehouses component muzichnih stilіv that zhanrіv scho Je naybіlsh poshirenimi Sered population spriyaє viniknennyu doslіdnitskoї zatsіkavlenostі in nomu. Actual vidaєtsya vzayemodiya i inovatorskih traditsіynih pіdhodіv have vikoristannі natsіonalnogo lingering melosis vikonavtsyami «novoї folklornoї hvilі» (vtorinnogo muzichnogo folklore at poєdnannі s іnshimi stilovimi napryamkami Musicians). Zokrema, tsіnnim zrazkom pereosmislennya i transformatsії ukrajins’koho muzichnogo folklore Je tvorchіst vіdomogo Skripal-vіrtuoza zahіdnoї ukraїnskoї dіaspori Vasil Popadyuk. Aktualnіst stattі ґruntuєtsya on neobhіdnostі viznachennya іndivіdualnih ambushes perevtіlennya folklore at vikonavsko-kompozitorskіy tvorchostі B. Popadyuk. In doslіdzhennі Vpershe zaproponovano analіz ukraїnskoї folklornoї skladovoї repertoire and the Same gutsulskoї Musicians, analіzuєtsya vzaєmovpliv avtentiki i Musica pop, jazz. Basics doslіdzhennya steel chislennі medіaresursi, zokrema, іnterv’yu s artist vlasnі analіtichnі uzagalnennya prosluhanogo repertoire vikonavtsya profit through audіo- that vіdeozapisi and takozh naukovі robots Yu Voloshchuk [2] H. Karas [4] toscho. Meta doslіdzhennya polyagaє have viyavlennі aspektіv transformatsії ukrajins’koho folklore at tvorchostі B. Popadyuk. Vasil Popadyuk іdentifіkuє currently ukraїntsem, nezvazhayuchi to those scho Hope 15 rokіv meshkaє in Toronto (Canada) i reprezentuє muzichne Mistetstvo rіznih stilіv that zhanrіv. Zarubіzhnі Partners th іnshomovnі sluhachі zavzhdi know scho vіn ukraїnets, yak Musica vikonuvav not bi. On vsіh spіlnih s іnshimi Muzikante svitu afіshah written: «Ukrainian Virtuoso Violin Vasyl Popadiuk». In repertoire zavzhdi vklyuchenі do the first of Ukrainian kompozitorіv abo avtorskі. Vіn - one іz nayyaskravіshih vikonavtsіv kіntsya XX - XXI century cob., An active promoter of ukraїnskoї іnstrumentalnoї avtentiki, composer, viznachny vikonavets have stilі world music, Lider znamenitoї kanadskoї groupies Papa Duke is the participant nayvіdomіshih have svіtі muzichnih festivalіv. Yogo talent zahoplyuєtsya velichezna auditorіya potsіnovuvachіv spravzhnogo profesіynogo muzichnogo Mistetstvo, yak dosvіdchenі muzyky so i nepіdgotovlenі sluhachі. In 2009 serpnі p. valued at over vnesok rozvitok ukrajins’koho muzichnogo Mistetstvo that Yogo populyarizatsіyu on svіtovih scenes Decree of the President of Ukraine V. Yushchenko V. Popadyuk Bulo prisvoєno Poczesna title «Honored Artist of Ukraine». American music critics have called Mr. Basil «golden violin» «violin maestro» and «Live nerve» in Canada, where he won the semi-final contest CBS Great Canadian Music Dream, - «Modern Paganini.» He is delighted and proud Ukrainian Diaspora of the Americas, «another phenomenon of our», «one who praises Ukraine.» And on it said: «He was born with a violin in his hands and with a trident in the heart.» It musician is constantly ring featuring the trident. B. Popadyuk Born January 16, 1966 in Lviv in the family of artists. In the same year the family moved to Kyiv. His father - also Popadyuk Basil, originally from the village. Mishin Kolomyia district, Ivano-Frankivsk region. People’s Artist of Ukraine, famous piper, long Artist of the State Academic Choir. G. Ropes, director of the ensemble «Troisti music.» Mother - Svetlana Popadyuk - professional choreographer. Fiddler received professional musical education. With four years, began to study piano and six - the violin. He graduated from the Kiev Special Music School. Lysenko. After the three courses Kiev Conservatory won the competition to the famous Moscow theater music of the world under the leadership of Nazarova, transferred to the Correspondence School Lviv Conservatory. Subsequently brief return to Kyiv musician (work in the ensemble «Gopak» which formed the orchestra Soloists Ensemble them. P. Virsky) and subsequent emigration to Canada. Undoubtedly, a great influence on the formation of the artist as a violinist father had. He instilled a love of Hutsul music and also Romanian, Moldovan - both regional ethnic borderlands. Basil childhood heard violinists such as S. Lunkevych, P. Terpelyuk. However, most of his professional development contributed to the work of the World Music Theatre in Moscow, headed by Russian musician Vladimir Nazarov. By the time the theater was the hallmark of the Soviet Union. As part of the theater - the most talented representatives of all Soviet republics, and many countries. In the team game to Basil mastered 15 instruments other nations, perfected his mastery and musical horizons. It is here that formed the professional skill and artistic preferences musician. Here he learned reincarnation in music cultures of the world. Musicians played Arabic, Armenian, Georgian, Gypsy music, toured, mostly in the former Union. We had to be multi, that play many instruments, so the collective artists taught each other their music. Thanks to the work in the theater V. Popadyuk expanded scope of his work - from folklore to contemporary genre of its diversified ethnic motifs and jazz to Latin. It is in the theater V. Nazarov mature musical and artistic and aesthetic preferences violinist as the basis for the formation of world music style of performing his work. «World music» - a term used by modern musicologists to determine the different genres and styles that do not belong to the traditional Western European and American popular music. Ethno music (ethnic, ethno) - the closest analogue of English term (of the world music, folk music). This term refers, primarily, folk music of various cultures of the world and classical music of non-European traditions and modern Western music from the extensive use of borrowings folk music and music of the East, motives, scales, tools, etc execution style. World music can be defined as «local music from the outside.» The term became common in the 1980s. As a section for the classification of such phenomena in the music industry. This category is subject not only popular, but popular music with elements not characteristic of Western countries (Celtic music) and the music, which influenced the ethnic music of developing countries (such as the Afro-Cuban music, reggae) [6]. V. Dutchak said that «characteristic stylistic direction of mass popular music, world music is melodic use ladoharmonichnyh and features folk music, drawing instruments or performance manners musicians of different ethnic groups» [3; 174]. In an interview with V. Popadyuk commented on his style of interpretation: «World music for me - a continuation of the ideas of Vladimir Nazarov Theatre with its folk music USSR, only on Canadian soil in the more modern version, when musicians of different nationalities play one and the the music, are in a completely different something in common «[5]. B. Popadyuk - the leader of his own band Papa Duke, created in 2003, in which all musicians - are unique. Roby (piano) and Frank (drums) Botoshi - Hungarian Gypsies, representatives of outstanding musical dynasty. Roby - known pianist, working with Al Jerome, Molly Johnson. Over the last three years he has the title of «Best Keyboard Player In The United States» - the best pianist in North America. Indian from Ecuador David West truly sings the blues and plays a unique guitar that produced specifically for him. It contains one deck, two necks and 18 strings: nylon on the one hand and on the other - metal. Also, it is a toggle switch, which «hides» a fretboard frets and fretless instrument is. In different modes you can play it on completely different sound. David patented his invention; now on this guitar plays a lot of stars. Bass guitarist Vladimir Khomenko native of Kyiv, but also as Popadyuk C., for a long time living in Canada. The creative works of V. Popadyuk five CDs, two of them recorded with the band. The repertoire of the group «Hutsul Fantasy» by Terpelyuka, Latin American «Tango» Gypsy «Romance», a romantic work Enio Morricone «Once in America,» «Csardas» K. Monti, «Skylark» G. Dinicu, «Trembita» and «Elegy» V. Popadyuk, tango «Hutsulka Ksenia» Ya Barnycha, «The Arab Night», «Somewhere in Bucovina», «real Gypsies», «Myth,» «Around the World» and many others. compositions. Content composition B. Popadyuk completely redesign leaves only topic because they can be classified as transcriptions or paraphrases. The band successfully toured many countries, giving 120 concerts a year, speaking at various festivals, including the most prestigious jazz festival in the Canadian city of Montreal. It should be noted that the team has spoken with symphony orchestras, as well as such renowned musicians as H. Iglesias, J. Gillan, David Healy. Almost every year Papa Duke toured different cities of Ukraine. Popularity promotes its multicultural team, after all, as the style in which they perform. B. Popadyuk believes that they have their own style - a mixture of Ukrainian, Romanian folklore and Latin music with jazz and jazz-rock. It all fits together in the music of the band Papa Duke [1]. The recently established three bands Papa Duke, one of them in Ukraine, where participants have the unique Ukrainian musicians. Organically that the primary source of creativity is V. Popadyuk Ukrainian folklore motifs of artistic career commenced artist, because his roots Hutsul. Usually business card concert is improvisation on Ukrainian folk themes, including Hutsul motives. The artist admits that one day believe that music should be purely ethnic roots, and the next understands that the world is evolving, and do not need to be in place. Just folk music should go ahead and make a revolution in its genre, look for new ways of promotion, especially among young people to preserve national cultural heritage [7]. The first artist album «Ablaze» (1999) represents the Ukrainian music and folklore in particular. This «cloud» (Arangio. S. Fomin), «Cranes» (Arangio. Popadyuk V., T. twin), «I will go to distant mountains» (V. Ivasjuk, Arangio. S. Fomin), «Brother Bright» (Arangio. T. twin), «Romance» (p Lunkevych, Arangio. D. Tkachuk), «The Sun» (Arangio. S. Fomin). Folklore «My father» - Basil perform Popadyuk Sr. (flute) and Basil Popadyuk Jr. (violin) - post implementation colorful authentic Hutsul music, dedicated to the memory of his father; «Hutsul Fantasy» by Terpelyuk (Arangio. Popadyuk V., T. twin) - a striking work, built on vocal and dance tunes Hutsul Pokuttya, where there are wedding singing tunes, called ladkanky and temperamental melodies Kolomyyky; «Tram-tram» I. bowls (Arangio. Popadyuk V., T. Twin) - bundles Ukrainian melodies intertwined improvised motifs. The only work that is not of Ukrainian music is «Csardas» K. Monti. The second audio disc «Ablaze 2 - Ten Thousand Miles» (2001) - the results of experimentation with different folk rhythms of the world. Symbolic drive name means the approximate distance between Ukraine and Canada. These include the «Lark» Dinicu (Arangio. S. Fomin), «Improvisation late» (jazz improvisation), «Dialogue Bandura - violin» (V. Popadyuk, R. Hrynkiv), «real Gypsy» (Arangio. S. Fomin ), «Christmas carols» (V. Popadyuk, S. Fomin), «Once in America» (E. Morricone). This CD features over works based on Ukrainian folk music. This «Trembita» (V. Popadyuk Sr., Arangio. T. Twin) Tango «Hutsulka Ksenia» (Arangio. S. Fomin) - rethinking striking examples of Hutsul folklore, first built in inflammatory kolomiyka dance rhythms, the second - tango with emphasis Gutsulskim; «Beech-hop» (Arangio. T. twin), «Somewhere in Bucovina» (Arangio. Twin T., V. Popadyuk) - The Expendables Bukovina folk dance motifs and melodies. The next album «Vasyl Popadiuk» (2004) - music, which was a source of inspiration and musical nature Mediterranean aura. Each essay used the sound of different instruments: violin virtuoso game guitar flamenco guitar Greek, Ukrainian pipe, Middle Eastern saga and dumbek. This superb examples of exotic light entertainment music. The fourth audio CD «Vasyl Popadiuk & Papa Duke» (2006) - repetition of the best works of the first and second album with three new works, but in the performance and arrangement of the band Papa Duke: «Black Eyes» (Arangio. V. Popadyuk), « Romance «(p Lunkevych, Arangio. S. Fomin),» The Sun «(Arangio. S. Fomin) «Once in America» (E. Morricone), «real Gypsy» (Arangio. SL. Fomin), «cloud» (Arangio. S. Fomin), «Cranes» (Arangio. V. Popadyuk), «Lark» Dinicu (Arangio. S. Fomin), «Elegy» (V. Popadyuk). Updated and enriched sound «Hutsul Fantasy» by Terpelyuka (Arangio. V. Popadyuk) «Somewhere in Bucovina» (Arangio. V. Popadyuk), which added a new track «Carpathian Dance» (I. Bowls, Arangio. V. Popadyuk) - rhythms Hutsul Carpathian folk dances. The latest album «Vasyl Popadiuk & Papa Duke - Violuminosity» (2012) - like music in the style of world music motifs in works of N. Rota, V.Kosmy, E. Morricone, Al Di Meola, A. P’yatsolly, M Legrand , own mixes folk music of other nations. But among these compositions folk- motifs present in such works as «Carpathian Cactus» - V. Popadyuk own mix based on Hutsul tone with improvisational elements of jazz, pop. Consequently, much of the works of Popadyuk built on Ukrainian folk sources. Analyzing the genre spectrum of folk songs, distinguishes fantasy, Rhapsody, folk dance. B. Popadyuk uses these types of relationships [8] folklore with jazz, rock and pop music: • citing musical and folklore material; • creating original compositions, transcriptions parfraziv based on folk - intonations, scale, methods of execution; • National alloy manner of performance with alien ethnic (style of world music). In the above types of interactions, the following methods of musical material: 22. pereintonuvannya folklore; 23. The penetration intonation scope and methods of implementation of folklore in jazz, rock - and pop music. Such work as «Hutsul Fantasy» by Terpelyuka not subject to modification artist categorical structure preserved, but each time he performs it differently, vkraplyuyuchy «fresh» elements of improvisation. Compositions free nature based on Ukrainian folk intonations usually started its own on a separate motive or whole popevki that played up and compositional and dynamic, followed by an improvisation on the transition to a different stylistic direction, then returned to the folk channel, which already intertwined with other stylistic devices and dynamic completed. Improvisation develop in waves, with the culmination, often created through folk intonations motive of topics (used harping Hutsul and gateway modes, pentatonic minor). Unique sound compositions in the style of world music, which begin with or folkmelodiy Ukrainian tunes, then seamlessly metamorfuyutsya in jazz with elements of Latin American pospivok. Even well-known performing folk songs V. Popadyuk differently between parts overheat and even among them vkraplyuye elements of improvisation, self-expression unwittingly enables the group to other participants, among which is seen close emotional contact. Each concert - a somewhat impromptu. Very often, the musician creates music which masterfully combines in a single work Hutsul, Romanian, Moldovan, Hungarian folk melodies and rhythms. The manner of execution violinist combines professional techniques and strokes, folklore means of musical expression, specific performance of popular music and jazz. When performing compositions built on the use of Ukrainian folk elements, performance V. Popadyuk characterized by certain features. Zvukovysotnogo intonation associated with the spread mikrointervaliv (1/6 and 1/8 ton) in the ornamentation that is typical not only for the Hutsul, but also Hungarian, Romanian folk instrumental music. For creation of such a tone violinist forced to move left hand in a specific situation (of considerable deflection) and perform carpal vibrating movements. Dashed characterized by a wide palette of strokes virtuoso arsenal: deteshe short and wide in the middle - at the top of the bow tempo in various combinations; single and double sotiyye a very fast pace; sintered, staccato, ricochet. When performing folk elements vibrato as a means of musical expression, function and performs finishing akin to ornamentation. In the works built in romantic tones or intonations of modern popular music is extremely expressive vibrato, intensive, has a certain sound colors, highlights the corresponding emotional mood. Admission to the game hlisando V. Popadyuk often onomatopoeic character («Hutsul Fantasy» by Terpelyuka «Trembita» and «Elegy» V. Popadyuk, «Somewhere in Bucovina»). Distribution is inherently open strings that provides sound and penetrating acerbity. The artist uses in his compositions and chord technique and technique of double notes, virtuoso passages, contrasting dynamics. About Us performer of folk instrumental tradition show specific characteristics such as the use of interpretation melizmatyky (grace notes, warble, trill tertsova) accents dotted and syncopated rhythm [2]. B. Popadyuk recently decided to create a unique design based on the traditions of Hutsul culture, together with conductor Vladimir Sirenko, the musicians from Detroit and of course, colorful native authentic Hutsul culture. Musician intends to present Hutsul culture on a global level, on different continents to find out about the identity of this region, its unique creativity and tradition. [9] Thus, analyzing the work of V. Popadyuk, you can make the following generalizations. An important place in his repertoire takes folk music that resulted from the formation of artistic and aesthetic goals and performing style of the artist at work in the theater music of the world under the leadership of V. Nazarov based on traditional instrumental music of different peoples and ethnic groups. His style synthesises world music folk, pop and jazz. But the most significant place in the repertoire of Ukrainian folk music belongs in particular Hutsul. Artist uses authentic Hutsul motives and Bukovina, boldly combining them with the music of other stylistic directions, truly improvising, performing secondary folklore. In the current globalization of world culture must mention the music and culture of our ancestors, but to modern technologies music industry. This happens in many countries that have great cultural heritage. This people are heard and known worldwide. And, in fact, such a person for the western Ukrainian diaspora is V. Popadyuk. His work is mass culture, based on the principles of professionalism. Intersection and interpenetration of forms of folk, popular and professional art led to the creation of original sources on the basis of authentic quality in artistic terms compositions suitable for stage performance and presentation to the general.

References 1. Basil Popadyuk [electronic resource] // Available at: http://ucfamilymagazine.com/2011/07/25/василь-попадюк/ 2. Yu Voloshchuk Style «World music» creativity in performing violinist Vasyl Popadiuk (Canada) / Yu Voloshchuk // Bulletin Prykarpat. nat. Univ. Art. - Vol. 17/18. - Iv.- Frankivsk 2009/2010. - P. 31-35. 3. V. Dutchak Ukrainian bandura art abroad XX - beginning of XXI century: monograms. / Violetta Dutchak. - Ivano-Frankivsk: Folio, 2013. - 488 p. 4. H. Karas musical culture Ukrainian diaspora in the world timespace twentieth century: the monogram. / H. Karas. - Ivano-Frankivsk: Tipovit, 2012. - 1164 p. 5. combine incongruous, and this is something interesting [electronic resource] // Available at: http: // www. day. kiev.ua/uk/article/kultura/poiednuyu-nepoiednuvane-iz-cogo-vihodit- cikave 6. Pozdnyakov MV Folk and modern music [electronic resource] / M. Pozdnyakov. - Available at: http: // www. scritube.com/limba/rusa/83920127.php 7. The audience extends to the fact that in its «seat» [electronic resource] // Available at: http://archive.wz.lviv.ua/ articles/89455 8. Tormahova VM Ukrainian pop music and folklore: interpenetration and synthesis: Author. Thesis. candidate. Art. 17.00.03 - «Music Art» / VM Tormahova. - K., 2007. - 21 p. 9. Ukrainian language I often communicate in Toronto than in Kyiv [electronic resource] // Available at: http: // gazeta. dt.ua/ culture/skripal-virtuoz-vasil-popadyuk-ukrayinskoyu- movoyu-ya-chastishe-spilkuyus-u-toronto-nizh-u-kiyevi.html

Summary Analyzed the synthesis of professional, popular and folk music as world music style of the establishment in the works of Popadyuk. Studied creative way, principles of forming vykonavsko- composing style artist. We study aspects of transformation of Ukrainian folk music principles and its use as a source of creativity of the artist. Key words: Ukrainian folk music, folklore transformation, style, world music, performing work.

Summary Fedornuak-Savchuk N. Ukrainan folklore and its transformation in the performing art of Vasil Рopadyuk In connection with the tendency to unite cultures of different nations (globalization), observed at the beginning of XXI century, is the interpenetration of different phenomena of musical art. An example of this might be mutual and even synthesis of seemingly fundamentally different phenomena as jazz, rock, pop and folklore. The existence of folklore in XX-XXI centuries. not only as a separate branch of musical culture, but as an integral component of musical styles and genres that are most common in the population, contributes to research interest in it. Actual issued and interaction of traditional and innovative approaches to use national melodies performers’ new folk wave (secondary musical folklore, combined with other stylistic directions music). In particular, a valuable example of rethinking and transformation of Ukrainian folk music is creation of the famous violin virtuoso Vasyl Western Ukrainian diaspora Popadyuk. Analyzed the synthesis of professional, popular and folk music as world music style of the establishment in the works of Popadyuk. Studied creative way, principles of forming the performing artist, composer style. We study some aspects of the transformation of Ukrainian folk music principles and its use as a source of creativity of the artist. The study first presents an analysis component of Ukrainian folk repertoire, namely Hutsul music, analyzes the interplay of authenticity and pop music, jazz. The basis of the study were numerous media resources, including interviews with the artist, their analytical generalization listened repertoire artist live through audio and video recordings and scientific work Yu.Voloschuka, H.Karas more. His professional development has contributed to the work of the World Music Theatre in Moscow, headed by Russian musician Vladimir Nazarov.Zavdyaky work in the theater V. Popadyuk expanded scope of his work - from folklore to contemporary genre of its diversified ethnic motifs and jazz to Latin. It is in the theater V. Nazarov mature musical and artistic and aesthetic preferences violinist as the basis for the formation of world music style of performing his work. An important place in his repertoire takes folk music that resulted from the formation of artistic and aesthetic goals and performing style of the artist at work in the theater music of the world under the leadership of V. Nazarov based on traditional instrumental music of different peoples and ethnic groups. His style synthesises world music folk, pop and jazz. But the most significant place in the repertoire of Ukrainian folk music belongs in particular Hutsul. Artist uses authentic Hutsul motives and Bukovina, boldly combining them with the music of other stylistic directions, truly improvising, performing secondary folklore. In the current globalization of world culture must mention the music and culture of our ancestors, but to modern technologies music industry. This happens in many countries that have great cultural heritage. This people are heard and known worldwide. And, in fact, such a person for the western Ukrainian diaspora is V. Popadyuk. His work is mass culture, based on the principles of professionalism. Intersection and interpenetration of various forms of folk, popular and professional art led to the creation of original sources on the basis of authentic quality in artistic terms compositions suitable for stage performance and presentation of the general public. Key words: Ukrainian folk music, art education, transformation folklore style world music, performing art, stylistic direction V. Popadiuk, a virtuoso, a music collective, music critic, intercultural contacts, Diaspora. Annotation Fedornyak Savchuk A.N. -Ukrainian folklore and its transformation into a performing art Basil Popadyuk It analyzed the synthesis of a professional, popular and folk music as a statement of style world music in the works of Popadyuk. We study a creative way, the foundations of the formation of the performing style of the artist-composer. Investigate aspects of transformation of Ukrainian folk music, and the principles of its use as a primary source of creativity of the artist. Key words: Ukrainian folk music, the transformation of folklore style world music, performing art. Nadіyshla to redaktsії 11/28/2014 p.

UDC 7.038.51 V.G. Plakhotnyuk TENDENCIES OF POP ART SYNTHESIS

Relevance of the study of pop art synthesis due to the fact that this synthesis occurs within the room, the concert in general, within the genre, and metahudozhnih metakulturnogo dimensions. Problems pop, show business dealing Poplavsky M., M. Pereverzev, Kostsov T., M. Brain, I. Vasilityna, M. Miller, D. Makaryevskyy, Yu Panasye, etc., but not sufficiently defined as synthetic pop specifics Arts particular synthesis [8, 7, 5, 1, 4, 3, 6]. Variety characterizes brevity, individuality and burlesque - stage synthesis, which corresponds to the so-called entertainment genre. Showbiz theater more determined and focused on bringing economic performance art project. Prodyuserstvo - is the implementation of technology of show business. That these three related realities can not be considered separately. If we turn to the dictionary of aesthetics, which defined the term «pop art», then find out that it comes from the French - platform, sublime plane. I mean synthetic type of stage art, combining small form drama, comedy, music and singing, recitation, dance, eccentric, pantomime, acrobatics, juggling, ilyuzionizmu and the like. Despite its internationalist nature preserves pop folk roots, which gives it a special national zabarvlenosti. Born in the Renaissance stage and on the street starting with the clown, primitive farce skomorostva and pop music evolved in different countries, giving preference then another, then another mask images. «The variety programs that emerged later - lounges, clubs and clubs in balahanchykah, music halls, kafeshantanah in cabarets, theaters and miniatures preserved landscape gardening sites dominated cheerful humor, hostrosliv’ya, parodies, caricatures and fretting zahalnozhyttyeva satire, pointed hyperbole, buffoonery, grotesque, irony, intimate lyrics. As in fashion intimate musical rhythms. Some rooms are not uncommon knitted ceremonies or simple story, but one of the theaters were two acts ballet, musical and other original repertoire, its own drama «[3; 427]. It is important in itself as a theatrical stage, popular theatrical reality had certain characteristics. They come from Viennese operetta, jazz, folklore nations, with their specific dominant. Thus, in the space associated with the Soviet music, dominated by first of all genres, which carried a conversational in nature and are more round been structured verbal discourse. For France is characterized chanson, vocal-oriented hit, popular melodies. The UK is dominatyvnoyu clowning, music hall. If you remember the American stage, it became dominatyvnoyu 60-70 years, then there is a symbiosis temporytmu space that combines the genres of singing, instrumental music and dance with principles. In the space of other cultures, this total scene was not as measurable only. It was determined between other sub- genres. Music Hall, kafeshantany, variety shows, cabaret show - typical for Western Europe genres that characterize exactly what we have traditionally called the stage. Perhaps a combination of pop music from popular shows that different musical genres, forms the stage incarnation made subject to the provision of music and entertainment services. It can be argued that the phenomenon of pop music is kept at sustainable commercial success and established a work that does not work is progressing on the market. If he does not become self-sufficient and necessary as a market phenomenon, it falls out of space pop culture. The well-known eccentric theme, the theme of the comic genre, topic vocal pop never closes. However, in the second half of the twentieth century. monozhanr disappears variety of applications. If it exists, then the rights of parity supplement, but not the rights dominatyvnoyi reality. A new pop music that originated it in the 50’s, associated with jazz, rhythm and blues, country, rock and roll, genre other configurations. Thus, we can testify that he synthesis of the arts that is relevant in the context of the stage, moving in the space of culture creation. This synthesis, above all, not arts and synthesis genre, moreover, cultural, metakulturnogo sheets of musical culture, where the combination of intuition, the jazz, formed on the basis of folklore of the peoples of Europe and the African-American cultural space. Speaking about the sources of popular culture that actually shaped the images of pop music, including pop in Ukraine, it was done under the influence of cultural synthesis intentions of various nations. Thus, the principles that form the fusion blues spirituals and ragtime. Importantly, spirituals, as a kind of spiritual izohrafiya, influenced the work of not only jazz composers, but many in the popular culture; Ragtime is formed in a specific manner emphasizing piano, called Impact. African Americans concentrated focus on the percussion instrument components that start metruvaty music and give it active elements of structural dominants. One of synthesizing and with inflections dominant pop became hits. It has two dimensions: a high-cultural and authentic. High or the one that correlates with it - is low, or shows the popularity of the genre or decline. That is before we see a kind of commercialization, defined as «shlyaheryzatsiya» - melodic simplified picture, metryzatsiya together and focus on fairly simple and understandable the true values of his time. Synthesis of Arts in stage - a kind of reality that encourages to determine its relevance as an event, the act of entering the space of everyday human existence. Yu Lehenky notes that the concept of «synthesis of the arts» in the modern aesthetic of art and literature used too widely and range of phenomena characterized by great art; traditionally associated with the synthesis of arts work of art. [3] «This concept means the interaction of arts in architectural ensembles. The same can be said of the synthesis of the arts to characterize the theater, cinema, ballet and others. Synthesis stage works implemented in spatial or temporal arts. There are more complex genres that operate within traditional schools, but by its cultural, aesthetic essence, is a multi- component. For example, the impact of theater on the painting in a defined objective mizanstsenuvanni environment, objective world picture has lived as a theatrical reality likened to a kind of pantomime things[3; 394]». Arguably, the stage is not so fast was part of life. Balagan, entertainment market squares, crib and other forms of entertainment, everything connected with art fairs synthesis - to some extent was of carnival character, while local, entertainment, concentrated in the field of individual realities culture, if not extravagant look, then, in any case, elitist or detached from popular culture in general. It was not as much variety as grafting to a Western-style pop kafeshantanu. The breakthrough occurred with industrialization, with the emergence of new arts, including cinema. It contributed to the general cinema adaptation inokulturnyh experience of reality and made it possible to deduce certain person, characters heroes of the first films in the space of the screen and stage. Regarding national origins stage, they too synthetic. At the heart of Ukrainian Variety is the symbiosis Yiddish, Polish, Hungarian and other languages. That can attest that there was a certain dialect configuration when the idiom or dialectical discourses and synthetic pop space began to take extraordinary popularity. Thus, in Lviv created many different groups, in particular, there was an original song genre that belongs to the so-called brodyazhnytskoyi songs that adapts Polish to Ukrainian. Already in Odessa were combined dialects, jargons that carried a mixture of Yiddish and Ukrainisms few borrowings from Russian. It is interesting that for the image of the national stage is a great role played western regions. M. Poplavsky in the «Anthology of modern Ukrainian pop» indicates that Ukrainian pop music arose based on three pillars. This ensemble «Smerichka», which emerged in a sufficiently elevated work Ivasyuka B. and S. Rotaru activity [8]. However, there are two most contrasting figures and not like the Ukrainian variety art, which has recently become charismatic features - it Danilko with his Verka Serduchka and Enver Izmailov, Ukrainian-Tatar virtuoso guitarist that plays a completely opposite model of pop. If the first works in carnival transversiyi typological space and turns it into a type of mask, the social mask, the second - in the folk-space where the sound of his ensemble of dozens of instruments in simulated sound of guitars, vocals complemented. A. Danilko also sings, and we hear a kind of synthesis of singing and orchestration: one orchestration - it’s instrumental arrangement of space, and another - transvestiyi space and endless carnival. Poplavsky M. Izmailov writes: «To represent this virtuoso guitarist does not need his possession an instrument so amazing that everyone knows about it. And not only in Ukraine but also in all continents. By the way, Izmailov fairly normal lives in the Crimean village near Dzhankoy, where he moved for permanent residence from Fergana in 1988, after the tragic events. Getting creative way Fergana boy from a family repatriated Crimean Tatars today is almost exotic - fifteen years he played the Uzbek weddings, parallel studied at the Music Conservatory in the class of domra, possessed and playing the bassoon. A first professional experience Enver scored in the group «Sato» he created with his brothers Atabek 1981 This group worked mainly in a jazz-folk vein, and so successfully that after six years at the firm «Melody» came out two vinyl discs «Sato »: «Legend» and «Give good in a circle.» After moving to Ukraine Izmailov acts, usually solo, but his style - folk-jazz «[8; 265-266]. These lines describe sufficiently talented artist, immersed in the problem of the synthesis stage, it is possible that in the present and, above all, in a folk context that industrializuyetsya, dramatized in the space of musical innovation that is essential to understanding the properties of modern synthetic pop. Thus, in these two opposite parallels incarnation Ukrainian pop can see synthesizing two dimensions. The first - a one-man band, and the other person, which can be associated with transgression, as amended. This man mask, man-puppet or marionette over by H. Greg. These two incarnation, one - Transformative, plastic, and another - vocal and dynamic, in fact, are the two main areas of synthesis stage. However, the Ukrainian stage they are not yet finalized. It is, but it’s hard to put someone next to Danilko, but no one, so no parade transvertystiv. As you can not put one next to Izmailov, no people orchestra on stage. So, individuality and polyphonic sound personalnist buttyevist and another man as her metamorphosis stage incarnation or reincarnation - the extreme markers that enable the implementation of synthesis as a synthesis of pop art. This is sufficient to note that the synthesis of the arts to the stage - it’s not only the synthesis of sound, vocals, instrumentation, dance and other forms of interaction, it is the perfect synthesis of deep, world model, which is implemented in the form of personal presentation of the model. Individuality and become the way it is adequacy forms of synthesis that affect how they reflect reality, become image, markers, ideals, symbols of pop culture, or the culture called popular mass. However, etnomystetski pop synthesis measurements show that it is folklore attribute of these masterpieces, which to some extent become a legend of pop music culture. If you recall such works as «Wild Geese», «The Magic Violin» I. Granted, «Red Rose» A. Horchynskoho «Two Colors» «Yaseny», «blooming fall silent heaven» O. Bilash, «The valley fog» V. Buyevskoho, we feel that these works go beyond the technology industry. They can not fit into the space of contemporary music, they already belong to time, they are at a distance and they are popular, they are beside us. When they heard in pop reminiscences Performing lists, it is always touching all and those who lived in those times was young, and those who hear them the first time. If again recall the conclusions L. roots [2], it can be noted that the Cossack tradition of Kant’s art song and magic- incantatory Polissya pop, rap Kolomiysky become a kind of synthesis as metahudozhni, metakulturnogo and folk forms of treatment to basics. That is, the formula stage can be defined as a symbiosis, integration, adaptation and as extensive as explosion, expansion, theatricality, dramatization of a single motif or a single rhythmic figure. This redundancy polymorphism, polyphonic sound and simplicity of the monistic linear configurations that can be compared only with monody ancient Christian singing is impressive that pop music plays on contrasts. Variety can be gray, intermediate, not a definite certain dominant. And this contrast becomes now signs median level of adaptive traits, sometimes destructive and sometimes extremely dramatic. All this indicates that the variety symbiosis as the dynamics of stage embodiment of the image - a complex reality that requires adequate vision and adequate understanding of modern innovation in space. Interestingly, an important role in the synthesis of pop type plays a regional basis. No wonder west region became so explosively producing at different stages of development stage Ukraine, from «Smerichki» and ending voyage Ruslana and Ani Lorak and other artists. Arguably, Boundary line between East and West as intonation limits to some extent belongs to the all type of cultural understanding and vision of the world. But at this stage becomes sharp and unexpected synthesis that every time the need is more and more imaginative expression. Interesting, even strange metamorphosis taking place on the semantic field pattern occurring on stage. Thus, the image of Ruth as a poison, which is widely used in folk art beside his reincarnation in a new motif that made Vladimir Ivasjuk in the song «Red Rue» says that Ruth is the image of love, but evil love, passionate love and the image of the unity of man and the universe. Consequently, semantic polyphony becomes too synthesis attribute of pop space. Thus, we can deduce that the synthesis is carried immanent means, that means the scene here and now, in this space, general and artistic work based on the semantic, verbal clichés canons, norms, cultural images of aids instrumentation, arrangement and all polyphony exercise space, as well as metakulturnogo, inshokulturnyy inshofolklornyy and pop type of unity in space different intonations, images and types of culture creation. Tip intentions is a combination of all composers work, when well-known composers are turning to pop music types. In particular, the work of L. Dychko, A. Zuev, Vladimir Ilyin, I. Karabits, M. Skorik and others. We know that M.Skoryk writing music for film, pereintonuvav it has a completely different form. And this migration of musical forms, which is reflected in another space, and sometimes in the opposite space, which is opposed to all of the composer, enables new and emerging synthesis. It is worth mentioning that S. Eisenstein, Prokofiev heard the music for his «Alexander Nevsky», rewrote the entire script. The most dramatic scenario has changed through the music and work extremely benefited from this. That is the musical intonation dominatyvnym for cultural and historical presentation and representation of this great image that was seen while the image of the motherland, the image of the defender, image, save the world. This example illustrates well the idea that not everything can be foreseen is not always carried out as zadumuvalosya in the studio. L. Dutkivskyy recalls that the first songs that brought Ivasjuk were «Red Rue», «Fountain,» and liked it more «Fountain», they started with him, but then «Red Rue» has acquired such fame that actually was symbol of Ukrainian music. It is important that the tone becomes the guiding principle of synthesis, and the rest not only combined, and upset in the context of rising leading motivation, thoughts or type as the performance stage image. The function selection and integration perform media, television space and any other presentation. So, popular music fairly seriously some performers, while others have favorable conditions to promote their brands in the pop market. The most famous bands that have gained in recent times the most popular - «Okean Elzy», «BB», «Second river» performers I. Bilyk N. Mogilev and T. Povaliy, Ani Lorak, etc., subject to the law of selection. This already applies Producing policy. But now, in this context it is worth noting that the synthesis stage arts comes to the screen space that becomes space reclamation and synthesis, unity opportunities, abilities and talents. It is worth mentioning another aspect, integrative, strong, socially mentioned - a political dimension. Who does not remember today how quickly risen in space «Greenjolly» after the Orange Revolution, and few mentions them now. Here it is not about professionalism, and conditions. Thus, the situation becomes irrelevant. If it seemed quite natural, when it was elevated desire to see all the orange, but now it is already irritable and, moreover, it is not a cultural irony that would be. The problem of unity of pop and politics is extremely important. Politics has always operated and operates what is called a podium, pop stage space. Often, singers, singers and rock singers intermediate also exploited in politics, mass feelings. This is not a topic for this problem, this particular remark, which introduces another aspect, synthesizing and destructive for understanding contemporary pop, reflection scene as polymorphic endless and limited piece for the presentation of these figures. Finally, what I would like to stress that all indicating factors are only factors grounds integrative factor, but not the backbone principles. System-principle pop symbiosis, pop art synthesis is always personality: bright, strong-willed, or vice versa, and, sadly exposed melancholy blues, but it wants to see, she expected and she has a sensual touch, sensual symphony, sensual image of the world that fl ‘ undertake with the image pop.

References 1. Vasylytyna Klavdyya Shulzhenko IA / IA Vasylytyna. - Moscow: Arts, 1979. - 176 p. 2. roots L. «Red Rue» - National School of Pop / L. roots // Voice of Ukraine. - 1996. - 27 January. 3. Lehenky G. Kulturolohyya Picture (Experience kompozytsyonnoho synthesis) / 4. wanting. - K.: HALPU, 1995. - 412 p. 5. Makarevskyy DY hard on this «easy» genre / DY Makarevskyy. - O.: Astroprint, 2006. - 103 p. 6. Brain MP formation and development trends of Ukrainian pop song: Author. Thesis ... candidate. Art. : Spets.17.00.01 - «Theory and History of Culture» / MP Brain. - K., 2007. - 19 p. 7. Y. Panase History podlynnoho Jazz / Yu Panase. - M. Music, 1978. - 128 p. 8. Pereverzev MA Management in the sphere of culture and art / MP Pereverzev, TV Kostsov. - Moscow: INFRA-M, 2007. - 192 p. 9. Poplavsky M. M Anthology of modern Ukrainian pop / MM Poplavskiy. - K.: Ukraine Press, 2004. - 416 p. 10. Estradnoe art // Эstetyka: clovar / ed. A. Belyaeva et al. - Moscow: Politizdat, 1989. - P. 427-428.

Summary Variety is determined in the context of pop culture, show business as metahudozhniy, metakulturnogo synthesis of the arts. Available analysis and genealogy forms of embodiment of stage art image. Keywords: pop culture, show business and pop music, the synthesis of the arts.

Summary Plahotnyuk V. Tendencies of becoming of vaudeville synthesis of arts Variety characterizes brevity, individuality and burlesque – stage synthesis, which corresponds to the so-called entertainment genre. Showbiz theater more determined and focused on bringing economic performance art project. Prodyuserstvo – is the implementation of technology of show business. That these three related realities can not be considered separately. Despite their internationalist nature preserves pop folk roots, which gives it a special national zabarvlenosti. Born in the Renaissance stage and on the street starting with the clown, primitive farce skomorostva and pop music evolved in different countries, giving preference then another, then another mask images. «The variety programs that emerged later – lounges, clubs and clubs in balahanchykah, music halls, kafeshantanah in cabarets, theaters and miniatures preserved landscape gardening sites dominated cheerful humor, hostrosliv’ya, parodies, caricatures and fretting zahalnozhyttyeva satire, pointed hyperbole, buffoonery, grotesque, irony, intimate lyrics. As in fashion intimate musical rhythms. Some rooms are not uncommon knitted ceremonies or simple story, but one of the theaters were two acts ballet, musical and other original repertoire, its own drama» [3; 427]. It is important in itself as a theatrical stage, popular theatrical reality had certain characteristics. They come from Viennese operetta, jazz, folklore nations, with their specific dominant. Thus, in the space associated with the Soviet music, dominated by first of all genres, which carried a conversational in nature and are more round been structured verbal discourse. For France is characterized chanson, vocal, which is oriented to hit on a popular melody. The UK is dominatyvnoyu clowning, music hall. If you remember the American stage, it became dominatyvnoyu 60-70 years, then there is a symbiosis temporytmu space that combines the genres of singing, instrumental music and dance with principles. In the space of other cultures, this total scene was not as measurable only. It was determined between other sub- genres. Thus, we can testify that he synthesis of the arts that is relevant in the context of the stage, moving in the space of culture creation. This synthesis, above all, not arts and synthesis genre, moreover, cultural, metakulturnogo sheets of musical culture, where the combination of intuition, the jazz, formed on the basis of folklore of the peoples of Europe and the African-American cultural space. Speaking about the sources of popular culture that actually shaped the images of pop music, including pop in Ukraine, it was done under the influence of cultural synthesis intentions of various nations. Regarding national origins stage, they too synthetic. At the heart of Ukrainian Variety is the symbiosis Yiddish, Polish, Hungarian and other languages. That can attest that there was a certain dialect configuration when the idiom or dialectical discourses and synthetic pop space began to take extraordinary popularity. The article analyzes the specifics synthesis of the arts through the prism of its vision of modern representatives of show business. Thus, the stage is defined by the author in the context of pop culture, show business as metahudozhniy, metakulturnogo synthesis of the arts. Available analysis and genealogy forms of embodiment of stage art image. And the synthesis of the arts in the stage - it’s not only the synthesis of sound, vocals, instrumentation, dance and other forms of interaction, it is the perfect synthesis of deep, world model, which is implemented in the form of personal presentation of the model. Key words: pop culture, show business and pop music, the synthesis of art, Ukrainian art, show business, stage form, entertainment genres, specific forms of influence on public, national origins variety of genres, modern stage, the evolution of the genre, cultural space.

Annotation Plak hotnyuk V.G. Tendencies of pop art synthesis Estrada is determined in the context of pop culture, shows how metahudozhestvenny, metacultural synthesis of the arts. It provides an analysis of the development and genealogy stage forms of the embodiment of the artistic image. Keywords: pop, show, stage, synthesis of the arts. Nadіyshla to redaktsії 11/11/2014 p.

UDC 793.3.03 L.F. Hotsyanovska ABSTRACT EXPRESSIVE POSSIBILITIES DANCE

Formulation of the problem. At the beginning of the new millennium art of dance is experiencing a time of the rise in popularity and shows a high level of development. Dance signing the context of contemporary art, is gradually being transformed into a new form, acquiring new meaning and role. The dance continues, is a spectacle, form of leisure, social ritual, but its main feature is that it is modern art, actual artistic expression. In the choreographic world for centuries remains an urgent problem of finding expressive choreographer to implement various plans. The concept of «means of expression» includes: the type of building performance (divertissement, collage, penetrating symphonic development, etc.), choreographic text, consisting of solo and ensemble dance forms of different types of interaction choreographic and musical forms, the choice of themes, ideas, plot work. The concept also includes a set of tools theatrical expression, which is the idea of plastic, musical idea verbatim idea individuality of the artist. To improve the quality of work in general need to improve all components. Of course, as we are talking about the art of dance, the leading role it has plastic idea. Urgency is the study of the question of motive expression abstracted dance outside the context of comprehensive factors, as it is a material movement dance art of choreography. Analysis of recent research and publications. Review of historical processes that took place in choreography dedicated to the works of art and general historiographical orientation of authors such as E. Suryts, L. Block, Y. Yakovlev. Biographical and autobiographical examination of certain personalities contained in books Kurt P., S. Lifar. Especially interesting are the views on the expressive possibilities of dance practitioners M. Fokine ballet, Serge Lifar. Labour AM Hvaterini, DI Sharikova devoted mainly history and some coverage of the theory of different types of dance in general. But the constant process of development and transformation of modern dance forms necessitates further scientific research. The analysis provides scientific sources concluded that the definition of «abstract dance» and its expressive possibilities were still on the subject of a separate study, making reference to the topic warranted. The purpose of the article is to clarify the essence of the concept «abstract dance» and study of its expressive possibilities as a material of art. Research results. Abstract figurative art not replaced direct natural reproduction of reality beautifully-plastic signs and symbols, or «clean» game art forms. «Pure» abstraction should be taken arbitrary, since even the most abstract of the specific nature of the images is always possible to predict specific subject-shaped motifs. Abstract art as figurative art, essentially abandoned any features images of real objects in painting, sculpture and graphics. In dance this principle is expressed in the absence of binding to specific characters, characters, literary plot, a specific place and time of action, leaving no reality other than the movement of the body that dances. The program consists of abstract art to express some «peeled reality» spiritual beings, purely subjective emotions and unconscious impulses. The practice is reduced to abstract art assembly using separate elements of the art form (spot color, line, volume, etc.) nonrepresentational compositions, rationally ordered or intended to express a sense of spontaneity and fantasy author. Practice removes abstract ballet dance element as a separate art form, dance is separated from the literary and dramatic plot, decoration, musical base. Expressive lines are (body) moving in the volume of stage space. Deleted even facial movements, it should be impartial. The compositions of abstract choreography is «nonrepresentational», their performers do not create images of specified ballet princes and princesses, and become an instrument of expression of those «purified from reality» of spiritual entities. Abstract idea, so-called «pure» dance ensemble accompanies ballet theater of his birth. From the royal French court ballets through classical grand pas in the ballets of the nineteenth century. To search choreographers of the twentieth century: «Les Sylphides» by Mikhail Fokin, «Tantssymfoniya» F. Lopukhov, «Agon» J. Balanchine, William Forsythe ballets and M . Kaninhema and others. Permanent reservoir of abstract art forms have always served art ornament. Important historical precursors of abstract art were also perennial enthusiasm of artists anamorphosis (like «random» image), which are discernible in the natural textures (eg, cuts minerals), and the principle of non-finita (external nezakinchenosti, allowing you to admire the play of lines and colors regardless of the scene forms), born in the Renaissance. Preferably ornamental art of Islam and Far Eastern calligraphy, brush freed from the necessity of constant imitation of external nature, it evolved in the Middle Ages pointless way. A manifestation of this trend in choreography court may serve fancy dancing, dancing big royal ballets. Ballet in execution of the king and his court were the favorite spectacle late XVI - early XVII century. In «ballets King» ladies did not participate, all parties executed men. Artists were skillfully made masks that adhere to the face and fantastic luxury suites. These ballets of dance has been self-sufficient, had no other expressive purpose other than direct expression, rooted in the rhythmic movement of people dancing. Face covered face and focused attention to the movement. «Do not people - otvlechёnnыe obrazы, p zolotыmy lytsamy, p pыshnыm halo эhretov in sverkayusche short tunykah, plavnыmy and tochnыmy of movement stroyat circles kvadratы, treuholnyky, How We apparent sovremennыh engravings, planyrovannыe always Very broadly, with the Bolshoi Interval Between tantsuyuschymy, That was the eschё something dolzhna uvelychyvat stroynost zrelyscha and splendor. Dlytelno smenyalys fyhurы Another one, permenы reached forty. And this velykolepnыy feast for the eye pryuchyl is something for motion vыrazytelnosty not nuzhdaetsya us in dramatycheskoy soderzhatelnosty, us in vyrtuoznom BLESK «[1; 142]. Dance in such popular actions carried a its content and showed that dance movement the same valuable material art as the music sound as line and color painting. In Europe in the era of romanticism and symbolism artists usually sketch stage, but sometimes in complete things were going in the world of non-figurative visions. These are some of the late John fantasy. Turner NV or sketches G. Moro. For the choreography of this period are characterized by the phenomenon of «white ballet» or «white act». Starting from «La Sylphide» and continue all the ballets of the nineteenth century. contain «white act» in which the action takes place in a fantastic, surreal world, and the characters are characterized by vague essence - otherworldly creatures - vilisy, mermaids, ghosts. All dancers, dressed in the same white tyuniky (abstracted suit), simultaneously repeated movements of the protagonist, emphasizing in abstracted form her feelings. The most common plastic motif of «white ballet» - Arabesque - in abstract form symbolizes expressive impulse, the desire for endless. A strong impression arabesques that repetitive sync lots of dancers. An important milestone of becoming abstract dance as a means of expression have become an end in itself M. Petipa ballets. It happened ballets selection and specification of dance art forms. Dance and mime separated from abstrahuvavsya lost touch with everyday movement. Finger technique evolved and changed, aspiration to become a characteristic virtuosity. But the changes were not only due to the growth of technology. Vykrystalizovuvalys resistant structural forms using techniques repetition, contrast, variation, making it possible to design and develop plastic motives oppose plastic threads. In the late nineteenth century. dance in the ballet a new quality: it rose to the level of conventional language arts, became an independent means of expression suitable for the creation of complex-valued images. From decorative dance to these songs, dance moves where generalized, abstracted revealed the spiritual world. As such, likened to dance music, most abstract of the arts. Not accidentally the highest achievements of the nineteenth century ballet. were perfect when discovered dance resistance in symphonic music composers. As a result symfonizatsiyi ballet music was changing attitudes and choreographers to music. There was a need staging of symphonic and instrumental, not intended for dance works. Built by other laws than the traditional ballet, they helped free from dance routine formulas as directors look for in their support for the reforms ballet performance itself. «White Ballet», becoming the classic game pas forms were only a few exceptions, the same decisive turning point in the movement of abstract art choreography aside was only in the early 1910’s., Which coincided with the general trends of the art of the period. Ballet «Chopiniana» M. Fokine (also known as «La Sylphide») was a new step in the way of «cleaning» the choreography at the end of which it had become an independent art, art alone dance that needs no music, no costume. Chopiniana «nauchyla because vyrazytelen How, How soderzhatelen Dance alone yourself mosc Scene task showed symfonycheskye Opportunity klassycheskoho dance, and also showed Dance As uvlekatelen and ynteresen MOSC every trick MOSC akrobatyzma.» [1; 331] Although it is impossible to recognize this abstract ballet in the fullest sense, he acknowledged the presence Fokin abstract dance in his statement. «I pryznaval and dramatycheskyy, and abstract, and klassycheskyy Dance and think something in this little Bailey vыskazalsya clear, than in kakom-Liboje friend, something clear in pysanoy reform programs. As Эta Miniature bы indicated that raznoobraznыe path, by kotorыm Ballet sleduet razvyvatsya and on kotorыm I sent a buduschuyu Activities «[8; 98]. The absence of musical accompaniment Fokin recognized only justified in specific cases in order to highlight and emphasize certain dramatic sound. Choreographer preferred to use highly musical forms, music considered necessary, as opposed to scenery that is less important. They can add a lot, but can not hide the flaws of ballet. These innovators choreographers as Serge Lifar, B. Romanov, put forward the idea of self-worth and independence of its dance music. S. Lifar outlined his views on the relationship between dance and music «Manifesto choreographer.» The idea of the manifesto was based on the idea that rhythm - connective link between music and dance; it is not necessarily a rhythmic dance, every musical rhythm may transmit body movements; but any rhythm mozha «inculcate» music. Consequently, it is necessary to submit musician in collaboration with the choreographer, and their joint work always wins in unity. S. Lifar believed that ballet is for dance must be the first and last word. Practical implementation considerations was the choreographer ballet «Icarus». According to the artist, no music could not convey simplicity, understated beauty of strict Greek myth and the vision of dance that inspired him. Lifar decided to dance «Icarus» without music, so assuming he wins in the expression, and also show that he is able to dance if do without any accompaniment [4; 53]. Pondered own expressive dance movement and dance without music created and exterior design B. Romanov, for which the dance itself is a «symphony of rhythm, plasticity, expressiveness» [6; 46-47]. This approach to music and dance was in tune with the views «Modernists», which is widely practiced speeches without musical accompaniment. In particular, A. Duncan periodically danced without music, and even considered this practice as a «dance of the future.» A case where the Artist told reporters that perfect dance needs no accompaniment, because it is a «self-sufficient expression» [3; 239]. Tantssymfoniya - a genre that was born at the junction of two traditions. One source is the «new ballet» early twentieth century., The other related to the development of «pure dance» in the «old ballet» nineteenth century., Preferably in the works of M. Petipa. We are talking about using it nonrepresentational, abstract dance inside the great ballets. In such ensembles had its own dance expression. Choreographer able to use the expressive properties of a motion, comparing and contrasting movements homogeneous combination of figures and groups are moving to create a generalized, abstract image. Ballet «Velyche myrozdanyya» F. Lopukhov music «Fourth Symphony» Beethoven was the first product of a new genre tantssymfoniyi. Net dance out specific action was intended to express the meaning of the symphony, to which it is formally subordinated to its structure. The relationship between Beethoven’s music and choreography not limited to the interpretation of the symphony in dance. Ballet argued important for the development of ballet idea that dance developed is able to generalize. It is an independent art material, has its own arsenal of expression. Choreographer can use dance without resorting to help other arts, as the composer or artist using their own means. As his music expressive sound, picture and its picturesque qualities, not subject to verbal translation, so there is a clear and dance, fired from any job scene. What gives the viewer an image of «pure dance», can not give him any other way - neither music nor painting nor verbal, since each has its own art features influence. The issue of self-worth and self-sufficiency of art and dance artists occupied Western Europe. Developing theoretical question art, Yossi Kurt turns to current art issues, in particular to clarify the categories of «dance theater» and «theater dance». In a speech delivered at the Second Congress of Dance in Essen (1928), he said that the rapid development of dance and other stage arts of the time led to the separation of two distinct concepts. Namely, «dance theater» - here in the foreground is the literary content, performance, dance which must convey as accurately as possible. This category refers Yossi K. dance as a means to other Performing Arts - Dance in the opera, drama, pantomime. Another manifestation - «absolute dance», the opposite extreme, dancing against itself, built exclusively on the laws of dance songs, dance without drama, the scene of action. He continued to develop plotless dance trend that started in the ballets of Petipa and «Les Sylphides» Fokin one of the greatest choreographers of the twentieth century. J. Balanchine. His ballets demonstrate meaningful basis for classical dance, and how movement turns of ordinary action on the element of art. Balanchine created exclusively dance choreography content that meets the musical content of the work of the composer. He did not try to literal dance music (note to note, in time with the beat), so that every art has its own laws. Balanchine did not repeat the music and its meaning conveyed by their own means. He believed that dance is not filled to emotion made from the outside, it is itself due to a combination of movements, figures, rhythms is necessary emotion. The choreographer whose ideas have defined the American way of dancing for a generation - M. Kaninhhem. His fundamental idea was about the content of the dance. Dance should not have any plot, has nothing to tell, dance also has nothing to express. The content must be very dance dance. Relations between dance and music (or sound) in productions Kaninhhema is not traditional: complete independence from music and dance music from the dance. Sometimes, heard that the dancers dance to music at the same time only at the time of its first performance. Conclusions. The results of the study give reasons to the following conclusions. Since the time of the birth of ballet dancing moved towards abstraction. Consistently with the ballet scenario was removed from his dramatic action, any reference to the time and place of the means of scenography. The favorite backdrop choreographers of the twentieth century. is «black cabinet» and favorite costumes - uniforms rehearsal dancer. Separated from the dance scene dramatic action was the plastic expression «analog music», and then to differentiate themselves from the music itself. Each new step was a gesture of rejection of the synthetic nature of ballet, combining various art forms until it receives indivisible balance - abstract dance. And the dance as if he understood the components. Elementary ballet movements that can be seen only in isolated ballet Exercise, and are part of large passable pas submitted as independent and self-sufficient structural value. «In ballet it was» Black Square «- the opening areas of total and absolute» no content «» [5; 98] And then these elementary components combined with a completely new, unexpected, unbelievable sequence, opening new horizons of expressive abstract dance. Outside the conversion of research articles remained ballet costume, which evolved in parallel with the development of choreographic art. This process may be the subject of future research studies.

References 1. Block LD Klassycheskyy dance: history and of our time: the monogram. / LD Block. - M., 1987. - 556 p. 2. Hvatteryny AM ABC Ballet: monograms. / M. Hvatteryny. - Moscow: BMM AO., 2001. - 240 p. 3. Kurt P. Dance Neystovыy life: monograms. / AP Kurt. - Moscow: Eksmo, 2002. - 768 p. 4. S. Lifar memories Icarus: monograms. / S. Lifar. - K: university publishing house pulsars, 2007. - 192 p. 5. Mc Mane Nychols S. Bukvalnoe and abstraktnoe motion [Electronic resource] / S. macro mane Nychols. - Access: http://www.teachingarts.org 6. Suryts EJ Horeohrafycheskoe art dvadtsatыh hodov: monograms. / EJ Suryts. - Moscow: Arts, 1979. - 360 p. 7. Surits EY Ballet and Dance in America: monograph. / EY Surits. - Ekaterinburg: Izd Uralskogo University Press, 2004. - 392 p. 8. M. Fokine Against the Current: monograph. / M. Fokine. - L., 1981. - 510 p. 9. Yu Yu Yakovlev Mariinsky Theatre. Ballet. The twentieth century: monograph. / Yu Yu Yakovlev. - M., 2005. - 328 p. 10. Beads D. I. Y. Klasifіkatsіya suchasnoї horeografії: monograph. / D. I. Balls. - K. Kind. Karpenko, VM, 2008. - 168 p.

Summary Daєtsya viznachennya defіnіtsії «Abstract Dance», viyavlyaєtsya іstorichna viokremlennya retrospective of abstract dance, rozglyanuto viraznі yogo yak materіalu mozhlivostі Mistetstvo. Klyuchovі words: Abstract Art of abstract dance, viraznі mozhlivostі tantsyuvalnogo Ruhu «bіly ballet» bezsyuzhetny dance.

Summary Khotsyanovska L. Expressive opportunities of abstract dance Dance signing the context of contemporary art, is gradually being transformed into a new form, acquiring new meaning and role. Dance is a spectacle, form of leisure, social ritual, but its main feature is that it is modern art, actual artistic expression. Defines the definition of «abstract dance» turns historical retrospective isolation abstract dance, considered its expressive possibilities as a material art. Emphasized that abstract figurative art as art, essentially abandoned any features images of real objects in painting, sculpture and graphics. In dance this principle is expressed in the absence of binding to specific characters, characters, literary plot, a specific place and time of action, leaving no reality other than the movement of the body that dances. The program consists of abstract art to express some «peeled reality» spiritual beings, purely subjective emotions and unconscious impulses. The practice is reduced to abstract art assembly using separate elements of artistic form (spot color, line, volume, etc.) nonrepresentational compositions, rationally ordered or intended to express a sense of spontaneity and fantasy author. An important milestone of becoming abstract dance as a means of expression have become an end in itself M. Petipa ballets. It happened ballets selection and specification of dance art forms. Dance and mime separated from abstrahuvavsya lost touch with everyday movement. Finger technique evolved and changed, aspiration to become a characteristic virtuosity. But the changes were not only due to the growth of technology. Vykrystalizovuvalys resistant structural forms using techniques repetition, contrast, variation, making it possible to design and develop plastic motives oppose plastic threads. In the late nineteenth century. dance in the ballet a new quality: it rose to the level of conventional language arts, became an independent means of expression suitable for the creation of complex-valued images. From decorative dance to these songs, dance moves where generalized, abstracted revealed the spiritual world. As such, likened to dance music, the most abstract of the arts. It is no coincidence the highest achievements of the nineteenth century ballet. were perfect when discovered dance resistance in symphonic music composers. As a result symfonizatsiyi ballet music was changing attitudes and choreographers to music. There was a need staging of symphonic and instrumental, not intended for dance works. Built by other laws than the traditional ballet, they helped free from dance routine formulas as directors look for in their support for the reforms ballet performance itself. «White Ballet», becoming the classic game pas forms were only a few exceptions, the same decisive turning point in the movement of abstract art choreography aside was only in the early 1910’s., Which coincided with the general trends of the art of the period. Ballet «Chopiniana» M. Fokine (also known as «La Sylphide») was a new step in the way of «cleaning» the choreography at the end of which it had become an independent art, art alone dance that needs no music, no costume. Other kinds of abstract dance - tantssymfoniya – a genre that was born at the junction of two traditions. One source is the «new ballet» early twentieth century., The other related to the development of «pure dance» in the «old ballet» nineteenth century., Preferably in the works of M. Petipa. Thus, separated from the dance scene dramatic action was the plastic expression «analog music», and then to differentiate themselves from the music itself. Each new step was a gesture of rejection of the synthetic nature of ballet, combining various art forms until it receives indivisible balance – abstract dance. Key words: abstract art, abstract dance, the expressive possibilities of dance movement, «white ballet» plotless dance, new cultural practices of the twentieth century, directors, art search, the new art.

annotation Hotsyanovskaya L.F. The expressive possibilities of abstract dance We give a definition of the definition of «Abstract Dance», traced the historical retrospective of separation of the dance, its expressive possibilities are considered as the material of art. Tags: abstract art, abstract dance, virazitelnye possibilities of dance movement, «white ballet» bezsyuzhetny dance. Nadіyshla to redaktsії 10/30/2014 p.

O. A. Merlyanova UKRAINIAN CHOREOGRAPHIC ASPECTS OF TRADITIONAL RITUALS

In recent times, various aspects of Ukrainian folk choreographic culture increasingly fall into the range of scientific reflection art, culture historians, folklorists (O. Chebanyuk, S. Light, Shkorinenko V., Pavlyuk T., K. Kinder), where the authors are more or less problems affecting the development of Ukrainian national, national scenic synthesized with classical female dance. However, Ukrainian women’s dance acts are not subject to independent scientific studies. The main theoretical work in ukranskoho folk dance are the works of highlanders, A. and K. Gumenyuk Vasilenko. But we note that actively studied folk dance in every region of Ukraine, Vladimir Titov «Dancing skirts» (H. 2000), A. Nahachewsky «Domestic Ukrainian Canadian Dance» (K., 2001), B. Stasko «Ivano-Frankivsk choreography» (I-F., 2004), B. Kokulenko «Where» Yatran «...» (K., 2006) G. Kozholyanko «Spiritual culture of Ukrainian Bucovina» (Charles, 2007). For centuries, Ukrainian folk dance, like many other nations, preserved only in performing practice. Restore accurate and detailed picture of the origin and historical development of Ukrainian folk dance is difficult because of the limited information that reached our time. However, based on numerous studies of this aspect in many nations suggests that the formation of Ukrainian national choreographic culture influenced to some extent all the families, the people who participated in the ethnogenesis. Some light on the problem view ancient dances of our ancestors may shed archaeological finds. E. Korolev is based on studies of Palaeolithic scholars of the twentieth century, concludes that, given the important role of women during maternal descent system, «Female female cult and ritual dances, of course, played a leading role in the life of the tribe» [4; 58]. Materials folklore-ethnographic expeditions middle of the nineteenth and twentieth centuries. prove the presence of elements of ritual, tradition, more or less preserved from pre-Christian times. An important part of the annual calendar and family rites are the Ukrainian dance and private dance elements, particularly women. Sometimes mention of women folk dances, sometimes detailed descriptions of their encounter in the context of Ukrainian studies of folk rituals. Vladimir Gusev believed that archaic calendar rites of the Eastern Slavs had as a mandatory element certain game actions - so-called merrymaking. Scientist identifies two types of merrymaking: Carnival (winter ritual cycle) and choral (spring-summer ritual cycle) that are different issues, obrazno- artistic means and composition [6; 7]. Considering that a round dance performers were mostly women, we can say that it is the spring-summer ritual cycle naynasychenishyy women dancing. Exploring the so-called «older segments of Ukrainian oral tradition» Hrushevsky stated: «The remains of our old rituals, especially in the spring cycle zahovalos many such antiquity that their choirs, dialogues, tanks, dances, amusements communicates very early, even rudimentary forms of verbal and musical action» [2; 131]. This claim, in our opinion, is fundamental to study the processes of Ukrainian origin and dance in general and, in particular, women’s dances. It is in pagan times should look for the origins of Ukrainian folk dance. Folklorists analyzing information on past and present spring-summer cycle conclude that almost the entire territory of Ukraine was common mayfly dance, «Crooked dance» is performed exclusively female representatives. This dance started or finished spring games. Dance as if symbolizing that spring has arrived and came into its own. He was not only welcome spring, but also a symbol of awakening vitality. Most folklorists and ethnographers, who recorded «Crooked Dance», did not try to interpret its sacred meaning, to reveal the semantics movements. C. Kilimnik symbolized content freckle-hayivky «Crooked Dance» and as a «movement» of the sun in the sky, day and night; and changing comparative year; and the birth, life and death; and the sky, the air, water and earth [3; 185]. Over time the name «Crooked dance» was used not only to denote a particular folk dance sample, and as the title picture when motion circuit (line) girls held unregulated, zigzag, wavy lines on the conductor, the first girl in the line. One common among the Slavic peoples freckle considered «simple». Most likely, she wore a magic agricultural content, which further confirmed the execution of her women. Another of the most common spring tanks can be called «quail.» It belongs to the so-called simulation or illustrative. C. Kilimnik believes that this spring dance «Unfortunately identified and compassion that spring very weary long journey that it hurts and head, and pidbochky and pens, and Legs ... In short, spring identical image with an image of man» [3; 234]. The image of quail can be seen as the personification of nature that suffers in winter in cold and darkness (at «Old peasant») and is reborn with the coming light, the sun («a young peasant»). Young will present «perepilochtsi» shoes to going to the dance, expressed his joy at the spring dance. In the spring dance poetically recreated some cyclical natural phenomena: a symbol of fertility (female deity) suffers in winter, while in the darkness, but reborn every spring. And that motive release is the culmination of «Perepilochtsi.» In Ukraine, have spread as freckles, characters whose protagonists are animals («Sparrow», «Kachuryk», «goat», etc.). To such belongs to one of the most famous - «Zayinka.» «Bunny» or «Zayinka» and was common on the left and on the right bank, as evidenced P. Chubynsky, citing versions of the tank from Boryspil Pereyaslav district, Chernelevky Starokostiantyniv County, Grand County Snytynok Vasylkivsky, Polonnoe Novohradvolynskoho district, Poltava Zhdanivka County. In the version presented by A. Humeniuk, faced with a certain illogicality verbal text: it is a real hare, as we know, belongs to animals associated with the water element - as the song states that catching it, it is necessary « enclose «(dam) river. Explanation imaginative content choral be found in the mythological plane. In the text of the Ukrainian choral song «Zayko», despite its biological nature, but according to mythological code appears as a representative of water. We can assume that the dance «Zayko ‘or’ river fallen» should be classified as mythological, zoomorphic, which played a single event or episode pre-Ukrainian myth. Using specific means syncretism and dance is shematyzovanu esetetyzovanu devoid of naturalistic details of game scene catching the pursuit of the hare and his attempts to break out of the encirclement. In fact, already driven a sacred character, surrounded by round dance circle. He tries to break free, but in vain. So he had to transfer their properties - fertility - all participants of the action. In our opinion, somewhat later in origin and somewhat poorer in content is dance «Oh rye in the field», though magical motif - the transfer of certain properties of sacred beast on the performers - and in this case remains valid. The central character of the dance as a «bunny». Content syncretic song and dance performances is that sacred «Bunny» gives the performers their properties-girls. Fertility motif dominates this dance - «Bunny» hid in millet, buckwheat, belonging to the plants dedicated to Demeter - the goddess of fertility, fertility. However, it should be noted that the mention of the river, the water element is not present in all recorded Chubynsky P. and V. Hnatiuk versions. Important given the diversity of dance vocabulary proved Hayivka «goat», V. Hnatiuk recorded in Ivanovka Zhydachiv district. Performing «goat» in the circular building of the protagonist (a girl) in the center in the form of dialogue. Freckle extremely diverse vocabulary and an example implementation of such purely masculine motion as prysyadka. The original due to compositional structure appeared mayfly dance «cucumbers». The main motive of this plastic imitation acts choral howl plants originally reproduced in the drawing and movement girls. Thus, the «cucumber» clearly visible mimic primitive magical-operation, which was intended to evoke natural reproductive forces of nature. M.Grushevskiy analyzing freckles, such as «cucumber», «peas», etc., observed that «not Believing in different applications, gathered with other fun - elements of courtship, mating, etc. ... there’s clear by those same elements as in the above-Australian ceremonies reproduction, imitation animal or a plant is movement, whose reproduction is intended to be action. Writhing figures of the pea stems or cucumber ohudynnya participants dance, unconsciously already for themselves, are obviously good growth posoblyaty peas or other horodovyny «[2; 132]. Originality freckles «noise», which was quite widespread, attracted the attention of many researchers. On average Dnieper M.Maksimovich recorded dance «noise», implemented two lines («keys»), which together ran forward and then back. P. Chubynsky gives another version of the dance in which girls are in a row, taking in hand with one another, collapsing in a circle and run their hands under the last two girls the other end of that passing under the arch of his hands the whole dance, collapsing under the same their own hands, folding with crosswise. Thus, the other girls, running during the next couple of hands, are opposite one another in the two lines are «painting the fence.» To put baby hand braided bare feet. The child goes on «Living the way.» After the last couple of girls returning backward at hand, followed by another. So is unwound fence, recovery series. Trying to reach primary sources of «noise», A. Voropay suggested that «our» noise «probably was ever more than a zavorozhuvannyam noise spring green, leaves, grass meadows, green fields on the blade ...» [ 1; 214]. Similarly composite construction to the «Noise» is a freckle «bug», which is also quite widespread throughout Ukraine. V. Hnatiuk takes ten poetic variations of this dance. Most characteristic performance had, when the two girls were facing each other, were taken by hand crosswise. Couples stood nearby. In the hands of a girl running down the least, and that pair, along which moved «Bug», leaving his seat and passed on before. This usually avoided around the church, and could just execute «bugs» on the lawn, singing and moving to tens of meters. Version affinity «noise» and «bugs» makes S. Kilimnik, believing that «the image of bugs can accurately perceive noise-noise spring - the image of the forest that awakened early spring; in Zhuchysi - image-spring water should fix ... This magical and freckles caused rather the arrival and development of spring upodoblyuyuchy singing and playing sound wood and zhuzhzhannya beetles «[3; 228]. Given the picture is valuable mayfly dance «brush», written by M. Markevich. During her performance of girls taken in hand, one extreme is still in place, a girl from another land row starts around the first, gradually «throwing» it with several layers of circles. Most likely, formed a picture, known as «snail.» Freckles on the wedding theme, where we meet some variants of plastic composite construction component was «Werbowy plaque.» It is, in our opinion, is one of those freckles where the plastic component is not as important as, for example, mimic, magical agrarian cycle. Many variants of spatial organization of dance component is in favor suggested. We believe that this is one of the relatively new freckles. Some vesnyankas also reflect historical events. These, in particular, include «keeper» («Lord»). This is called «Lord» recorded in the mayfly P. Chubinskogo where one describe poetic dance presented eight options that differ in content. At the core is the same dance component pass through the «gate». The primary content of «keeper» is trying to reach S. Kilimnik, considering vesnyanka mystery «or secret sky spring gate through which the high and strange regions we thoroughly person mythological images» pryspuskaye that because they are «new people (born), new creatures sun, spring, new year, harvest, prosperity, happiness, and joy of marriage, «although it notes that» Goalkeeper «later adopted new images [3; 245]. Without going into a detailed semantic analysis «keeper» («Lord»), we note that the freckle has become one of the most common in Ukraine, with time lost not only primary, but also to some extent later historical meaning, becoming a favorite amusement of young people in the Streets and evening sessions. Timeframe performance freckles different researchers define differently. Traditionally it is assumed that the freckles on preached performed (April 7) to Pentecost (Whitsun fall). Green Holidays in Ukraine coincide with the Christian Trinity, celebrated on the fiftieth day after Easter. Trinity mermaid rites marking the end of spring and beginning of summer calendar cycle. At the heart of it lying vegetation cult, magic invocation future harvest. Trinity Entertainment began Monday and continued for a week. Of course, they staged in the woods or the fields, the pasture outside the village. Sometimes youth were dancing and fun at the gambling oak or maple. They were a long pole to which the wheel is attached horizontally on top, decorated with branches, flowers and ribbons. M.Maksimovich suggest that dance known game «Dribushky» «is a general representation of mermaids, who are very fond of dancing and circling; and in order to Petrovka out of the water to the shore at night ... «[5; 79]. «Dribushka» is an example of a rapid maiden dance with the characteristic small movements of the legs, indicating the diversity of women’s folk dance vocabulary. On the Left Bank girls were taken poplar - wore one from among poplars and drove it to the courts. Each host cordially greeted the procession and taking from her good wishes, generously participants of the ceremony. In Polesie close in meaning was common rite Trinity Bush, whose role she also performed. Modern folklorists (V. Davydyuk, A. Oshurkevych) indicate a continuing tradition of driving Bush in Volyn Polissya. On the night of 23 to 24 June (from 6 to 7 July new style) celebrated «Midsummer» - an ancient pagan holiday that coincided with the arrival of Christianity on Christmas John the Baptist. Kupalski action can not be imagined without tanks. In ceremonies connected with dreams, Kupaylom where important element of dance in a circle, found unregulated and dance as an expression festive mood. Still leading in the celebration of Midsummer is the idea of a happy married life, most actions directly or indirectly aimed at finding ways to implement girlish dreams. No wonder a significant role in the whole complex play midsummer wreath - a symbol of marriage. He consecrated water should naprorochyty girl’s fate, the future of family life. The girls weave garlands of prayer and deep faith in a higher power, the magical action, let these wreaths nimble on the water. In midsummer tanks clearly emerges the image of a young girl who seeks to exercise eternal dream - to become a good wife, a young, healthy, gentle, hard-working man; to become a loving mother of their children; be a real mistress - to keep the house in order, children and husband clean and get high yields from the garden; be faithful to his wife, to share joy and sorrow. Dozhinki harvest song or songs are the constituent of the rituals connected with crop harvesting. Actually crowning the calendar cycle. Harvest Although a period of very intensive labor, they marked the end of the tillage year. Reaped ritual associated with several moments. late harvest leave the field wad ears, tie it up and kvitchayut. Pryhynayuchy this bunch («beard») ears down, shakes it and commandeth: «The families of God on every lot, and the poor and the rich.» Around the «beard» lead dances, dancing and singing. The next action associated with vyplitannyam wreath of corn, which crowned head girl-zhnytsi selected (usually the best worker) - «Princess», «princess», «Princess.» The third point is the singing campaign songs to the court of the owner, he reaped the crown assembly (as a symbol of prosperity and joy), singing the corresponding desire. After this the treats and refreshments reapers with dances and songs. But in this context, the dancing, particularly women, do not have deep load is an expression of joy over the harvest. Thus, the most girlish tanks is saturated spring and summer preached on Easter, when freckles dominate, female tanks are also an integral part of rituals on the eve of St. George Green holidays, Midsummer. The specificity of women’s dances spring-summer period is the organic unity of word, melody, mime, dance movements, dramatic action (syncretism) that provides integrity phenomenon. Women tanks proved linguistically rich, contrary to established notions of primitive ritual dance movements majority. An important role in the development of female dance vocabulary illustrative played tanks, or in which the main character, who was in the circle («Perepilonka», «Kozlyk» et al.) Or opposite rows («Ask») illustrated movements contents singing. Gradually, most successful, aesthetically significant spread movements found in neobryadovyh dances. Although, of course, in the main tanks were simple moves and bihy, prytupy so that made it possible to reach a certain consistency movements large number of performers.

References 1. O. Voropay customs of our people etnohr. essay / O. Voropay. - K.: Charm, 1993. - 590 p. 2. Hrushevsky MS History of Ukrainian Literature: 6 v. 9, Vol. T. 1: [compilation. V. Yaremenko et al.] / M.Grushevskiy. - Kyiv: Lybid, 1993. - 392 p. 4. Kilimnik S. Year in Ukrainian folk customs in historical light: [3 Vol. 6 vols.] / 5. Kilimnik. - Fax. kind. - K.: JSC «Talismans», 1994. - Kn. 1. T. 1-2, 1994. 6. Queen E. A. Rannye forms of dance / E. A. Queen. - Chisinau: Shtyyntsa, 1977. - 216 p. 7. Maksimovic MA Days and months ahead Ukrainian peasant / MA Maksimovic // Russian conversation. - 1856. - № 3. - S. 61-83. - Mode of access: http: // www.bolesmir.ru 8. O. Chebanyuk Ukrainian vesnyanі Panzer іgrovі pisni (Deyakі Problems of the genesis of the first semantics): Author. dis ... cand. fіlol. Sciences: 10.01.07 special - «Folklore» / O. Chebanyuk. - K., 1996. - 24 p.

Summary Visvіtlyuyutsya іstorichnі round pobutovogo zhіnochogo dancing on osnovі analіzu vesnyano-lіtnoї kalendarnoї obryadovostі. Key words: zhіnochy dance ritual calendar, traditsіya, ceremonial cycle tantsyuvalna vocabulary.

Summary Melanova O. Choreographic aspects of traditional Ukrainian rites Abstract For centuries, Ukrainian folk dance, like many other nations, preserved only in performing practice. Restore accurate and detailed picture of the origin and historical development of Ukrainian folk dance is difficult because of the limited information that reached our time. However, based on numerous studies of this aspect in many nations, it can be assumed that the formation of Ukrainian national choreographic culture influenced to some extent all the families, the people who participated in the ethnogenesis. The materials of the article the historical origins of women’s dance community by analyzing the spring-summer calendar rites. Shows authors studied similar issues and analyzed their individual work. Materials folklore-ethnographic expeditions of the nineteenth and mid twentieth century prove the presence of elements of ritual, tradition, more or less preserved from pre-Christian times. An important part of the annual calendar and family rites are the Ukrainian dance and private dance elements, particularly women. Sometimes mention of women folk dances, sometimes detailed descriptions of their encounter in the context of Ukrainian studies of folk rituals. The article analyzes the series of dances, the most typical annual cycle, given their characteristics, origins, expression possibilities and importance in the cultural practice of the ethnic group. Shows the variety of perspectives on the origin of a dance phenomenon in the culture of the Ukrainian people. The attention to the fact that many national dances are without some historical background; emphasis on the motivation of using specific dance vocabulary in different regions of Ukraine. An attempt was made to put the fundamental regional differences famous dance designs spring- summer cycle. Thus, the most girlish tanks is saturated spring and summer preached on Easter, when freckles dominate, female tanks are also an integral part of rituals on the eve of St. George Green holidays, Midsummer. The specificity of women’s dances spring-summer period is the organic unity of word, melody, mime, dance movements, dramatic action (syncretism) that provides integrity phenomenon. Women tanks proved linguistically rich, contrary to established notions of primitive ritual dance movements majority. An important role in the development of female dance vocabulary illustrative played tanks, or in which the main character, who was in the circle («Perepilonka», «Kozlyk» et al.) Or opposite rows («Ask») illustrated movements contents singing. Gradually, most successful, aesthetically significant movements have found no distribution in ritual dances. Although, of course, in the main tanks were simple moves and bihy, prytupy so that made it possible to reach a certain consistency movements large number of performers. Key words: dance wear, calendar ritual, tradition, ritual ring dance vocabulary, choreographic aspects expression symbols, scientific research, national choreographic culture, descent, annual calendar cycle, Ukrainian cultural heritage, ancient culture.

Annotation Merlyanova O.A. Choreographic aspects of traditional Ukrainian rites The paper highlights the historical origins of domestic female dance based on analysis of the spring-summer calendar rites. Keywords: women’s dance, ritual calendar, traditsіya, ceremonial cycle dance vocabulary. Nadіyshla to redaktsії 10/10/2014 p

UDC 7,036. (477): 791,44.071.1B. G.P. Pogrebnyak AUTHOR’S CINEMA AS A UNIQUE WORLD-MODEL

Author’s cinema as an artistic phenomenon specific and unique world model that is actively growing, changing, appears in many variations, is the object of attention in studies of a wide range of researchers. One reason for interest in the author cinema is indicative of a trend in contemporary art, and cinema in particular, to a maximum fulfillment artist by strengthening the subjective copyright principles. After recognition by society of the author’s personality as a self-organized and self-sufficient value, and able to bear, not hiding his own «I», to produce a product labeled natural charisma, important ideas, ideals and images in the context of the original cinematic worlds models on the agenda . It should agree with I. Zubavinoyi that «lost productivity in transforming social timespace, cinema approached subjectivity began to go into chasoprostorovist man’s inner world, conveying subjective view of the world, simulating the processes of thinking, mental processes or using optical the illusion of creating fantastic worlds of their own time and spatial organization «[10; 96]. In the works of A. Briukhovetsky V. Vinogradov, I. Zubavinoyi A. Mattelara, A. Musienko, Neal S., S. Penzina A. Plahov, K. Razlohova, N. Samutinoyi, V. Skurativsky, S. Freyliha, G. Chmil, TV Shaq presented various definitions of this phenomenon, made attempts to define its essential features. In particular T. Shaq indicates that the highlighting features of «author cinema, should be emphasized increased semiotychnist text pursuit of augmenting znakovosti attention to stylistic techniques, orientation to form innovation, originality language, but the main significance of the figure of the director» [22; 82]. Despite various scientific approaches to the study author cinema, most researchers tend to believe that the director is the author - is, above all, individuality with its philosophy, outlook, extraordinary system of subjective perception, evaluation, images and world view image of a man in her personality , able to present their own cinematic svitomodel that there is «an expression of the forces who make it» [26; 9]. It seems important and the fact that J. Epstein, one of the most consistent members of the European kinoavanhardu long before all theories «Author cinema» emphasized the importance of personal creativity in filmmaking since: «Personality higher mind. It is the visible soul of things and people engraved their heredity, their unforgettable past, their future already exists! All sides of the world, selected by cinematographer for life, selected him on one condition - the possession of own personality «[23; 8]. So cinema, in which the director, devoting «the rise of the film itself as its own original magic bullet» [13; 34], is able to turn in ideological installation art system, to discover and deliver to the recipient philosophical principles of integrity, with kinoobraziv that would bore the imprint of the personal nature of perception and feeling of the artist painting the world gives reason to characterize it as an author. Study author cinema phenomenon, the origins of which lie in the plane of European kinoavanhardu first quarter of the twentieth century. Requires detection of the works of contemporary authors-directors preservation or denial of the traditions cinematographic heritage brightest representatives of the French and German experimental film, which is the purpose of our scientific research. This should take into account various, sometimes polar, scientific views on the concept of a «tradition.» Whereas, on conviction K. Edshmida «tradition - not a national issue and not related to a certain period of history» [9; 306]. According to the same AP Herchanivskoyi tradition has sometimes undergo testing by providing her self-identity in the process of historical development [4; 12]. However, despite the diversity of scientific reasoning, tradition, belongs to the sphere of the sacred and requires individuals (and above artist) adding to it all being, his mind and his whole being. [14] Most scholars representing various schools of thought, inclined to think that complex and multifaceted problem of authorship in the film has gained urgency in the 1920s. However, C. Neal believes that its origins lie in the earlier period, as still «on early 1910s, Germany took part in the movement towards early form of cinema art «[15; 11]. At that time the figure of movie director is of particular importance in the complex creative and production process, and artistic environment in vogue is the word «director». The new, so to speak «terminology» Status midst of a passionate desire to original filmmakers (of course, not without shocking) present in person, but finds not only adequate theoretical justification, even worthy of support. So, for example Robert Desnos, «one of the most prominent representatives of the French kinodumky 20s» [24; 190] believed that «exaggerated respect for art, mysticism expression led <...> to create the so-called avant-garde film, To the remarkable speed with which out of fashion his works, the lack of it human feelings and the danger which he exposes the entire film «[7; 192]. This fact did not prevent members of the European kinoavanhardu in the author’s creativity in frank terms the calling form not only strive to capture personal involvement with the depicted reality «pulling a wide spectrum of reality, its own visual elements» [28; 9], but also to ensure that «the real creative act of the author (and indeed any action) always moves at the borders (border value) aesthetic world» [1]. Decisive steps in the realization of personal needs «depict disturbing and boundary conditions of the human psyche plastic means» [2; 11], active detection of the original «author’s attitude to the subject of presentation» [3], and sometimes only simulate, put representatives kinoavanhardu 20-ies. XX century. the necessity daring experiment with cinematic form, figurative means, plastic images. It is in this way, because of the desire «to reveal hidden secret nature of people, things, events’ appropriate and sometimes arbitrary use of» unusual angles «[8; 9] primarily filmmakers argued himself that «individuality by becoming only where we refer to it decorated and individual he created the world» [1]. Another approach to the phenomenon of European kinoavanhardu appointed period, find in the works of the above Desnosa R., who categorically stated: «The use of means of action unconditional, conditional game, the claim to arbitrary expression and complex movements of the soul - these are the characteristic features of filmmaking that I would cinema pleasure nicknamed hair in the soup «[7; 192]. However, despite the categorical rejection art searches kinoavanhardystiv named investigator should agree with the opinion of V. Skurativsky that analyzing the first 30 years of existence, cinema, notes that «the film during its adolescence and youth ... managed to pass the obligatory path of» icons « the «character» in their most clearly highlighted most emphatically forms - from the moving family and species «album» Lyum`yeriv to «figurative» German cinema late 10 - early 20’s Viking Ehhelinha and Hans Richter, in his « motor ornament «is closely approximate to the dada attitude and other» bezpredmetnytstva «[19; 118-119]. By being original author’s vision and world view playback representatives of European kinoavanhardu 1920 (L. Bunuel, R. Vinay A. Hans J. Dyulak J. Epstein, F. Léger, R. Claire F. Lang, Friedrich Murnau V. Ehhelinh, G. Richter, V. Rutman) sought to «reflect something incomprehensible, Nesamovyte» indecent «that lives in man exists in the world, but that imposed the brackets and having evaporate during crystallization» work «of art ... fixing all the concrete that exists in life, not rejecting «dirt», «minor details» and did not fear «zatyahnutosti» [8; 8]. The above artists thus sought to identify the original author’s vision and interpretation of reality moment. Demonstrating subjective desire to reflect the artistic view of the world specific figurative-expressive means, directors like creating «the illusion of perfect anarchy installation, tempo, rhythm, building plot, the characters, including a memorable one» [17; 153]. Obviously, the reason lay in the fact that «finding no support in reality, filmmakers searched for the given period it within themselves» [11; 75] So egocentrism led to escape from the real world in a subjective world «through various sub’yektyvovani transformation, using angles, light, motion, kinetic deviations from the usual rate or because of mounting new forms of building the frame timespace» [ 10; 90]. According O.Bryuhovetskoyi, now «crossed the centenary milestone cinema began to seek inspiration in his turbulent youth» [2; 12], for example, in the movies expressionism that made it possible to image of «man the center of creation» fills a void in the world «colors, lines, sounds, his own» I «[6; 12]. Since it is known that «the film is not so certain beliefs as mental attitude, the collective soul of fen layers which lie deeper consciousness» [12; 10]. In an effort to provoke a cultural explosion, which was once the European kinoavanhard 1920, modern filmmakers just need creative freedom, demanding the rule of law, «the existence of individual art [11; 72], which does not guarantee the birth of outstanding copyright works that are not only specific artistic and aesthetic but moral and ethical value. Indicative cinematic phenomenon in the current environment, there are aspirations directors-writers building on the creative heritage of M. Wegener, R. Vinay, F. Murnau, Lang F. seizing «the spirit, not the letter - the atmosphere, not the plot» [2; 11], to present films in their inner world of outstanding people, their emotions, experiences with «expressionistic means of expression such as the sharp contrasts of light and shadow, sharp angles, intense colors, deformation narrative» [2; 11]. After all, the mythical Golem picture of the same name P. Wegener, and the absurd, such as on the brink of painful art R.Vine fantasy characters from the movie «The Cabinet of Dr. Caligari» and, apparently, «Real» actors of the «last man» F. Murnau, were once outspoken protest against the makers of conventional plants worldview dialectic relationship of personality and power, desire to «escape from the clutches of gross external world and dive into the unfathomable world of the soul» [12; 93]. So pushed by German epic poem and by playing in the film «Nibelungen» gloomy atmosphere of the Middle Ages, F. Lang gave the screen aesthetically perfect mythical heroes who stood at the same time as the paltry moral monster. Remarkably, the artist, «trying to understand in his own soul» busy «thoughts of tyranny» and, not relying on current actualization of his work, thinking, «what happens if tyranny as tribes reject life?» [12; 104]. In-depth analysis of the film, which in the spirit of reactionary romanticism story highlights the inevitability of fate and the cruel force of personality that is eager to unlimited power, shows how in a veiled form of «napivcharivnoyi tale» artist reflects on the relationship between the concepts «Power» and «a tyrant». Now the «Cinema is a disciplinary discourse of power», besides «screen discourse - politically engaged, he regularly speaks at events in public life, giving them a certain direction, turning them into art, journalistic facts» [21; 35-36]. That said, not a chore in the creativity of Kovalova is, in our opinion, the film «The Dark Night». Already in the XXI century. by relying on expressionist techniques, «highlights, impersonal, faceless power, which is impersonal and ubiquity» [21; 37]. Conditional kinosvit work appears on the screen even more dark and awful than the films of the German avant-garde, particularly in the works of F. Lang. The usurpation of power, oppression and civil atmosphere of depression, desperate hopelessness and fear in the country in which the film was created, prompted the director to resort to methods of allegory and borrowed the style of German films 1920-1930’s. To express their attitude to the concepts of «personality», « power «,» dictator «,» tyrant. « Open condemning modern methods of destroying individuality, seeking to «emphasize the rigor of redemption» [26; 7], A. Kovalov helps to «orient the viewer is happening on the screen <...>, operates visual accents» [10; 97]. By limiting the space and time of action, minimizing the actor’s expressive means of the artist, however, can ensure that the current «In the author’s projects are increasingly seeing no linearity and discontinuity» time-space «as a reflection of individual flow outlook» [10; 96]. Pondering the underlying processes of destruction of the moral and ethical foundations of society, the author intentionally blurs subject lines and uses ascetic figurative-expressive means (black and white range of colors, light and shade, «sharp angles» associative editing, etc.), turning actors into «fancy shapes» [12 ; 111]. This relates director boldly pre-war Germany and contemporary «contradictions kill time» Russia, filling the film «ominous signs horrible crimes flashes of panic» [12; 89] as sure that «we vpovzayemo in the same twilight zone» [16]. Note that, as well as F. Lang in the movie «The Cabinet of Dr. Caligari» and «M», the main character in the film A. Kovalova «Dark Night» is essentially restless, exhausted and mutilated bodies harassment soul that confused in the cycle of life and unable to fight the darkness of evil. This fact only confirms that «the language of Screen Arts can be considered discourse, and as it undergoes powerful control, regulation, enforcement of cultural and stylistic limitations, such discourse is discourse disciplinary» [21; 35-36]. This range, which uses directed or decoration in architecture, construction or staging «serves as a symbol of chaos» [12; 88] in earthly existence. This defines a powerful leitmotif kinoopovidi despair, since «any attempt to escape from the tyranny yaknaybolyuchishe confused man» [12; 89]. By the same date tells the story now, which disappointed in myself and hostile world, branded tyranny, Immant (allegorical heroy- killer) is not so much injustice exasperated reality, how tired impossibility, freed from the «imposed» his public relations, get unlimited freedom. I sincerely saddened own inability to change reality, where the fascist dictatorship in the form of full powers ugly undisguised evil reigns and the soul «fatally torn tyranny and chaos» [12; 92], the main character is a painful disorder both with itself and with the society in which, despite the desperate and exhausting struggle, forced to exist. Notably, hero maniac A. Kovalova, «Despite the fantastic time and spatial dimensions» [10; 93] as visually resembles Cesare somnabulu (played by Karl Feydta) and of F. Lang, which once again highlights the director’s works capture the outstanding master. Erasing «the boundaries between real and unreal» by simultaneously trying to demonstrate the «total escape in ourselves» [12; 85-94] and escape from the clutches of painful bifurcated «I». We should talk about specific model typology of human waste kinoavtorom such a way that conventional requirements definition visual and verbal definitions of heroes, immersed in the sounds of music dodekafoniya deliberately violated. Modern kinoavtor displays the demonic «Prince of Darkness» and both the alleged long-expected «savior» of humanity that invented the «original» how-man for murder «Liberation» of the soul with gloomy darkness of the night. Following the style of F. Lang, A. Kovalov boldly reveals in the story «connection between cause and effect» [12; 110] and makes the fateful character fraudulently lure of eternal peace moonlight and beautiful little Martha, to finally show her awaited Nibelungs. Note that in the conventional chamber music retro stylized film in which modern kinoavtor enthusiastically demonstrates flawless possession expressionist technique, lies the philosophical scale and depth of the work that reveals, according to the director, «the essence of the twentieth century - the same contempt with which we must say goodbye on the threshold of the new millennium «[16]. However, given the current events in the East of Ukraine can not do this because the film - it «Theatre materialized image of what’s behind the show, is organized on the plane of knowledge- topos places fixed by the persons involved, functions, roles» [21; 37]. Notable is the fact that in case of need dibraty keywords for the film O. Kovalova «Dark Night», they could be found in the arsenal ironic prophetic utterances of one of the prominent representatives of the French «new wave» J.-L. Godard. «I hate when rallies shouting that fascism will not pass - said the master. - He failed. He is still here «[25; 66]. So no wonder that one of the earliest films artist «Contempt», full of beauty and aesthetic refinement, like no fascist dictatorship, no signs of the horrors of the war years and poverty, but it does not deprive the product of a feeling of spiritual vacuum in which have to be strikingly beautiful characters . At first glance it seems «it is specifically cinematic beauty, when his image dominates the abyss of meanings the author’s position» [8; 7]. However, this is only the initial impression. In the prologue, the author’s voice-over appeal viewer prudently warned, quoting A. Bazin, the filmmakers are going to show the world of cinema that emerges only subtitled «our view», a world that is in «harmony with our views» that is the inner core of elegant and carefully veiled narrative. And because each filled with bright sun and boundless airspace frame filmstrip appears essentially deep and meticulous research kinoavtora collapse of the once happy family, feelings collapse of two self-contained and internally free people who suffer from sudden alienation, discontent necessity of coexistence. Forcing «the viewer to empathize, to live together with the characters» [8; 6] director skillfully operates cinematic vizualnistyu in which «All camera movements not only different incredible precision in the set but possessing their own abstract value movement in space» [5]. Significantly, in his book «Godard on Godard,» the author in this way and style described by F. Lang in said film abandoning the revolutionary technology of the French «new wave» (especially the so-called swooping cameras) and suggesting the role of director, actively resists dictate foreign customer of the German avant-garde films. His role nonrandom selection of artist director himself J.-L. Godard explains producer-expression Prokosha tyrant who needs movie opening, and is capable of F. Lang. Since only the art of individuality that «the author reveals a distinctive» reading «social norms of life, his outlook, his own (« not common «) face» [20; 159], capable of surprising sincerity, novelty, surprise, internal measure quality. This artist-innovator seeks to find and present images of a system which allows to penetrate into the causes of phenomena, establish their relationship, disclose and show subtle facets of human feelings, experiences, characters and social relations. Remarkably, in the film «Contempt» author-director in a delicate form of tyranny analyzes several models: producer- director-screenwriter, director - crew, husband-wife, but makes pretty hard moral judgment. It seems as if the artist does not condemn his characters, not impose them how perception of reality, and actions. Following expression JP Sartre «A man condemned to be free» [18; 320] and trying to penetrate the consciousness of the characters, Godard actually represents modeled kinosvit own experiences, ideas and concepts of deep senses of life and aspirations through «pronounced taste for suffering» [5]. And therefore pays History advantage tragic finale, saving lives as Prokosha tyrant and his mistress Kamil - victim of family tyranny. Directed by deliberately does not answer the questions, thus pushing the characters and the audience to determine the nature of being, its purpose in the world. Implementation bright personality in his work as an active subject of social life is a major feature film that will be developed in the new millennium. But now to kinosvitu part of the younger generation of filmmakers that ambitiously claiming the status of the author, sometimes just do not bother to search for relevant topics, new hero, language, but also ignores the achievements of world kinospadschyny turning while «technique in an end in itself, the formalist tryukatstvo» [11; 76]. However declaration of authorship require such personal software kinotvorchosti when the film is not only an independent personality, but also distinctive personality that seeks to establish in his work universal values. This should be considered a copyright «Movie that creates the feeling of reality of life on the screen of life with all its inappropriateness and odiousness, beauty hidden and obvious ...» movie in which the director is able to «give the power of his genius removed» piece of life «sense and make the audience believe in the existence of meaning «[8; 8].

References 1. MM Bakhtin Author and hero in aesthetic activity [Electronic resource] / MM Bakhtin // Estetyka verbal creativity. - Moscow: Arts, 1979. - C. 7-180. - Access: http: // museum. philosophy.pu.ru/books/. 2. A. Bryukhovetska Expressionism in cinema: the first meeting of the «Cabinet of Dr. Caligari» / A. Bryukhovetska // World Film classics: Coll. Art. - K., ed. house «KM Akademia, 2000. - S. 11-42. 3. Valhyna NS Text Theory: Textbook. Ref. [Electronic resource] / NS Valhyna. - Moscow: Logos, 2003. - 173 p. Access: http://evartist.narod.ru/text14/01.htm 4. Herchanivska PE tradition: stability and variability / PE Herchanivska // Vestnik NTU-KPI. Philosophy. Psychology. Pedagogy. - 2010 - Vol. 1. - P. 12-16. 5. Godard on Godard [Electronic resource]. - Access: http://lib.ru/PXESY/GODAR/ interview.txt 6. F. Hübner Эkspressyonyzm in Germany / F. Hübner // Эkspressyonyzm. - Moscow: OHYZ- YZOHYZ, 1923. - R. 11-16. 7. Robert Desnos Kynematohraf Vanguard / Robert Desnos // IZ history frantsuzskoy kynomыsly: Nemo Movies, 1911-1933. - Moscow: Arts, 1988. - P. 191-194. 8. A. Dobroskok movie and its vehicles / O. Dobroskok / World Film classics: Coll. Art. - K., ed. Home «KM Akademia, 2000. - P. 6-10. 9. K. Эdshmyd Эkspressyonyzm in poetry / K. Эdshmyd // Nazыvat veschy svoymy names: Other software vыstuplenyya masters West-evropeyskoy literature of the twentieth century. - Moscow: Progress, 1986. - P. 300-316. 10. Zubavina I. Dyhitohraf like expanse of creativity in contemporary screen culture / I. Zubavina // Cultural opinion: Yearbook Science. pr. - Kyiv: Institute of Cultural Studies Nat. Acad. Artist of Ukraine, 2013. - № 6. - P. 90-101. 11. S. Komarov and Foreign History Movies: 3 t. / SV Komarov. - Moscow: Arts, 1965. - T. 1. - 416 p. 12. Krakauer Z. From Caligari to Hitler - psychological history of German cinema / S. Krakauer. - K.: Grani-T, 2009. - 384 p. 13. L’Yerbe M. Hermes and molchanye / M. L’Yerbe // IZ history frantsuzskoy kynomыsly: Nemo Movies, 1911- 1933. - Moscow: Arts, 1988. - P. 26-37. 14. Nezhynskyy IV Tradition in space cultures [Electronic resource] / IV Nezhynskyy. - Access: http://fourthway. narod.ru. 15. Neil S. Art Cinema How Industriia / s Nile // Logos. - 2002. - № 5-6 (35). - P. 16-21. 16. New yhrovoy FILM Oleg Kovalova [Electronic resource]. - Access: http://www.intermedia.ru/news/. 17. A. Gray Zabыtыe / A. Reizen // Arts Movies. - 1990. - № 8. - P. 152-154. 18. JP Sartre Эkzystentsyalyzm - is humanyzm / JP Sartre // Twilight gods. - Moscow: Politizdat, 1989. - P. 319-344. 19. Skuratovskyi VL-screen art in the twentieth century social and cultural processes. Genesis, structure, function / VL Skuratovskyi. - K.: Izdatel’stvo «Ivan Fedorov». - 1997 - Part 2 - 240 p. 20. VV Individuality hoods / VV hoods // Philosophy: slov.-argument .. - K: NAKKKiM, 2011. 21. Chmil G. «Domineering» role reality and film as a disciplinary discourse power / Chmil G. // Cultural opinion: Yearbook Science. pr. - Kyiv: Institute of Cultural Studies Nat. Acad. Arts. Ukraine, 2013. - № 6. - P. 33-37. 22. Shaq TV Music As component anymatsyonnoho Movie / TV Shaq // Cultural and artistic environment: creativity and technology: Coll. VII Intern materials. scientific-creative conference. - K.: NAKKKiM, 2014. - P. 82-82. 23. S. Yutkevich Time poyskov and svershenyy / s Yutkevich // IZ history frantsuzskoy kynomыsly: Nemo Movies, 1911-1933. - Moscow: Arts, 1988. - P. 5-16. 24. Yutkevich S. Robert Desnos / s Yutkevich // IZ history frantsuzskoy kynomыsly: Nemo Movies, 1911-1933. - Moscow: Arts, 1988. - P. 190-191. 25. Eberhardt K. Jan-Luc Godard / K. Eberhardt. - Warsz., 1970. - 166 s. 26. Gance A. Le tempus de l`image est venu! / A. Gance // L`art cinematographique. - T. 2. Paris: Librairie Felix Alcan, 1927. - R. 9-10. 27. Harbou T. Von Nibelungen-film und seinem Entstehen / T. Harbou // Suddeutsche Filmzeitung. - Munchen. - 1924. - Nr. 16. - April, 18. - R. 6-8. 28. Manaras A. Emotion cinématographique et d’autres / A. Manaras // Cinen-Cine - 1930. - № 147. - 1930. - 1 Janvier - P. 7-10.

Summary We consider the phenomenon of authorship in the film, its ideological principles, creative guidelines; analyzes kinoavtoramy modern interpretation of the essential characteristics of the concepts of «personality» «Individuality», «power», «tyrant», «freedom». The role of author cinema in reviving the spiritual values of society. Tags: copyright film, tradition, individuality, personality, experiment.

Summary Pogrebnyak G. Authorial cinema as unique model One reason for interest in the author cinema is indicative of a trend in contemporary art, and cinema in particular, to a maximum fulfillment artist by strengthening the subjective copyright principles. Author’s cinema as an artistic phenomenon specific and unique world model that is actively growing, changing, appears in numerous variations, is the object of attention in a wide range of research scientists in the research which presented various definitions of this phenomenon, made attempts to define its essential features. So cinema, in which the director, devoting «ourselves raising film as miraculous means of its own originality», able to transform ideological installation in the art system, reveal and communicate to the recipient the integrity of philosophical principles, using kinoobraziv that would bore the imprint of a personal nature perception and feeling of the artist painting the world gives reason to characterize it as an author. After recognition by society of the author’s personality as a self-organized and self-sufficient values, able to bear and, not hiding his own «I», to produce a product labeled natural charisma, important ideas, ideals and images in the context of the original cinematic worlds models on the agenda . Considered on a number of examples from the world of film heritage phenomenon of authorship in the film, its ideological principles, creative guidelines; analyzes kinoavtoramy modern interpretation of the essential characteristics of the concepts of «personality», «individuality», «power», «tyrant», «freedom». Despite various scientific approaches to the study author cinema, most researchers tend to believe that the director is the author – is, above all, individuality with its philosophy, outlook, extraordinary system of subjective perception, evaluation, images and world view image of a man in her personality, able to present their own cinematic svitomodel that there is «an expression of the forces who make it». The role of author cinema in reviving the spiritual values of modern society. Implementation bright personality in his work as an active subject of social life is a major feature film that will be developed in the new millennium. But now to kinosvitu part of the younger generation of filmmakers that ambitiously claiming the status of the author, sometimes just do not bother to search for relevant topics, new hero, language, but also ignores the achievements of world film heritage, making with «appliances in an end in itself, the formalist tryukatstvo». However declaration of authorship require such personal software kinotvorchosti when the film is not only an independent personality, but also distinctive personality that seeks to establish in his work universal values. This author should be regarded as a «cinema that creates a feeling of reality of life on the screen of life with all its inappropriateness and odiousness, beauty hidden and obvious...» movie in which the director is able to «give the power of his genius removed» piece of life «sense and make the audience believe in the existence of meaning». Key words: copyright film, tradition, individuality, personality, experiment, creativity, modern vision of life, the cultural phenomenon of the era, film artists, director, spiritual values, foreign authors, research, field staff, svitomodel scenario.

Annotation Pogrebnyak G.P. Author’s cinema as a unique model of the universe Considered the phenomenon of authorship in the film, his ideological principles, creative guidelines; The analysis of the interpretation of contemporary kinoavtorami essential characteristics of the concepts of «personality», «individuality», «power», «tyrant», «freedom». The role of the auteur in the revival of spiritual values of society. Tags: author’s cinema tradition, individuality, personality, experiment. Nadіyshla to redaktsії 10/11/2014 p.

UDC 7,067 A.V. Efimova IMPLEMENTATION DETAILS CURRENT TRENDS IN URBAN SPACE ART IN WESTERN UKRAINE: MODERN ART MONUMENTAL PRACTICE

Contemporary art has a number of important functions in urban spaces both in the visual aesthetic, and in the socio-cultural aspects. He was first assigned mission visually uvyraznyty space, give it a certain symbolic and cultural meaning, and bring to society is the problem, or to update the historical, collective memory. These characteristics often inherent in the latest monumental art practices, which include conceptual monuments, sculptures, muralizm and partly graffiti. All possibilities of artistic practices effectively used in the West, they become integral elements forming a new visual image of cities, their identity, part of branding. In the Ukrainian context, these trends appear relatively fragmented and only in recent years begin to somewhat more clearly-drawn. Accordingly, the proposed theme theoretically processed in the domestic scientific discourse and presented some publications summarizing character. In particular, remain virtually unexplored west monumental experience of actualization of new practices in urban space, which is represented mostly in journalistic articles. With this in mind, the proposed deserves proper scientific study from the standpoint of modern cultural studies and art history, which, respectively, and determine its relevance. Important for this study was the publication Bazhkovoyi E., M. Lurie, K. Noise [1] A. Kotlomanova [6] P. Shugurov [10] K. Stanislavsky [9] B. Vorotnova [3] and al., revealing some aspects of the problem, particularly in the context of nationwide experience. First you figure out some terminological nuances. Given the rapid Ukraine’s aspirations to enter the global artistic context, some researchers propose to refuse to use the term «monumental» to the art, because it is associated with totalitarianism and propaganda [4; 151]. However, the propaganda function of monumental art in Ukraine largely transformed from gaining state independence, and the concept has continued actively used in scientific discourse. Accordingly, abruptly abandon the definition which is largely established in the public consciousness, is difficult. At this stage it is important to relate the experience and terminology of the Soviet school, which, despite sporadic attempts to move away from her, firmly entrenched in Ukrainian glossary of Western tradition. [9] At the same time we note most used in the domestic discourse term «Street art» is rather vague and unclear, and only fragments characterizes us studied art- facilities. Its semantic content covers a number of events related to public «Artistic» activity [3; 8]. In order to specify certain we combine some genres of contemporary art in the urban space under the concept of «modern monumental practices», which will focus primarily on the size of objects offered for consideration and the duration of their representation in the urban space and, thus, will help distinguish them from the temporary nature of projects. This conceptual definitions refer monuments and sculptures in the urban space, and practices related to modern monumental paintings - muralizm, superhrafika and partly graffiti. This definition, in our opinion, is a reasonable and appropriate in the national context and scientific at the same time brings us closer to Western terminology. If we turn to international experience, it is worth noting that even in the 1960s in the wake of post-modern trends intensified processes of «withdrawal» art in open urban spaces. Besides aesthetic latter, an important task was the actualization of contemporary art among the masses disinterested audience. At first they were abstract sculptures that instalyuvalysya excluding the context of space. Well-known examples - «Chicago Picasso» (1954) and «High speed» A. Calder for the city. Grand Rapids, Michigan (1977). Later art in urban space has undergone significant transformations and acquired new forms, which combined the concept of public art - «Public Art» [5; 220-221]. His most representative genre of art practice remain monumental. In the development of public art there are various art concepts, among which worth mentioning «Site-specific public art» as an art focused on the specifics of place and «konrmonument» - as an alternative to traditional monument that was associated in the West with the art of totalitarian regimes. Accordingly, a need reflected in urban space socially significant ideas dictated the appearance of a new type of large format sculptures [6; 46]. The latter involved the complete rejection of traditional iconography which is believed can cause really deep reasoning about complex historical events and embodies the idea of conceptualism in urban monumental art practices [5; 222]. Representative samples of modern monumental art in the global context of challenges A. Kapoor, particularly good example «site-specific public art» is known for its project «Heavenly Gate» in Chicago (2010). In modern practice monumental trace two basic models - sculptural art objects and compositions related to the murals, including, in view of the artistic value, are of particular interest to muralizm, superhrafika and painting graffiti (or graffiti art). Thus, the term «mural» («Mural») in contemporary art determine the composition of large wall art in open urban space. Typically, murals decorate the dull side houses, many concrete fences or other objects grim city. Traditionally, subjects muralizmu - available to accept figurative allegories, group manifestatyvna heraldry decor, propaganda, and so on. Similar but not identical muralizmu is superhrafika - sanctioned «from above» industrial drawing pictures on the architecture [3; 10-11]. Graffiti in turn, appears as a means of communication, the main features of which are informal and publicity events. In modern urban spaces present numerous graffiti texts aesthetic value but with graffiti is art compositions [8; 241]. In particular, researchers Bazhkova E., M. Lurie, K. Shumov determining their term «painting graffiti» in order to emphasize their own artistic and aesthetic dominance and thereby distinguish such graffiti from numerous texts and images that do not include the artistic value, and serve primarily as a means of communication [1]. Accordingly, the latter will pay no attention in the context of the proposed research. As for the Ukrainian experience, it is worth noting that this monumental modern practice began to actualize recent years. While individual projects are new monuments and sculptures. Particularly worth noting «New Monument Monument» Kadyrova J. (2009) in Shargorod. An important step in the development of contemporary sculptural practices has become a major festival «Kyiv Sculpture project» (2012), which provided for the implementation of large art objects that meet international trends public art. Much more clearly defined their positions muralizm and artistic graffiti. For example, in Ukraine since the beginning of the XXI century. there is a street art / graffiti scene post-adequate global processes (hrafiti- raytynhu subculture exists somewhere in the mid-90s [3, 12]. In some years, the last decade there were more than a dozen graffiti festivals, geography which covers the whole country (Lviv, Kyiv, Kharkiv, Uzhhorod, Kherson, Ternopil, Odessa, Zhitomir, Mariupol, Nikolaev, Lutsk, Zaporozhye, Lugansk, White Church and others. City) [8, 243]. We should also note a major urban project - the international festival « Kyiv Muralissimo «held in the autumn of 2010 his main aim was aesthetic quality of urban spaces Kyiv to the European Football Championship» Euro 2012 «[7]. The festival brought together professional Ukrainian and foreign artists working in different styles muralizmu. It is worth noting also the last festival «Republic» in Kamenec-Podolsk in 2014, within which was sold many Mural on the facades of buildings, especially on patriotic themes. Of particular interest regarding mainstreaming urban art practices of Western-region with its dynamic cultural and artistic environment that tends to European artistic trends. In particular, the only unconventional modern design that embodies the concept kontrmonumentu, was erected in Lviv 2011 It is a monument of Lviv professors killed by the Germans during the occupation of the city in 1941 as its built fireplace arch consisting of ten pedestals with Roman letters. The letters symbolize the Ten Commandments of God, of whom is dedicated the fifth commandment - «Thou shalt not kill.» The stone which symbolizes this commandment, a little put forward and it gives the impression that the whole arch may fall. That is the decision of the sponsors stressed that breaking this commandment, a threat of destruction of the entire structure - public integrity. Importantly, this monument, which was a joint project of Ukraine and Poland - in fact the first and only complete conceptual model of the monument in western Ukraine [5; 223-224]. Thus, we can say that there are positive developments and dynamizuyetsya process of penetration of current Western trends in domestic urban artistic practice. More visible in urban spaces in Western Ukraine is a public art genres associated with modern monumental paintings, including muralizm and artistic graffiti. Indicative in terms of implementation of current artistic trends began a large-scale project «Crossword» within the Week of Contemporary Art in 2007 in Lviv. This interactive crossword mural was the size of eighteen and thirty meters on the wall of the new multi-storey building (Str. Sakharova, 82). This is one of the first cases not only in Lviv, but in Ukraine, when the facade of an ordinary apartment building created conceptual art project: an interactive crossword encrypted with the names of prominent Ukrainian artists in architectural terms, categories of art and more. Questions to the crossword puzzle can be found in some city pubs and tourist centers, as word-clues inscribed lyumynestsentnoyu special paint, visible only in the evening. Crossword made with a multi-purpose international representation of contemporary Ukrainian art. The designer is a young artist from Lviv S. Petlyuk. Art object interacts harmoniously with the surrounding space and, besides aesthetic, and performs an educational function. Realization. «Crosswords» has demonstrated successful collaboration between artist, art institutions, businesses and local authorities, which happens in our country is extremely rare. This is the principle in the US and Western Europe, most of the projects implemented by modern monumental art. This innovative approach is instructive in the context of improvement of urban space and serves as an example of transforming utilitarian architecture in custom work of art. However, unfortunately, this is so far the only project of this nature in Lviv, the following «Week of Contemporary Art» this trend is not continued. As for large-muralizmu, we should also note the painting «Jesus, bless pilgrims» on the facade of industrial buildings in Ivano-Frankivsk, measuring 400 square meters. m. (st. Adolescence, 53). Implemented within the Christian festival «Up Heart» (2010), this project appeals to certain spiritual aspects of social consciousness. It combines classic monumental art with current urban art practices. The monumental painting also had an interactive character, since the process of creating its authors (A. Semanyshyn, Stetsik J. et al.) Have attracted public. In addition, it appears a good example of how a community can contribute to the development of contemporary art practices in urban space (in this case - the Greek-Catholic community). In Western cities, especially noticeable is the trend to finish facades of abandoned urban spaces that reflect numerous projects in Ternopil, Ivano-Frankivsk, Uzhhorod, Chernivtsi. However, not all cases inherent quality paintings art solutions. Mark can «strange dream» in the central part of Ivano-Frankivsk, or street art by Bulgarian artists V. Georgiev and N. Bozhinova in Lviv (2012), which created some metaphorical wall paintings in the tradition of European street art. In April 2014, as part of the «French Spring», 2014 Lviv street art artist S. Radkevych and his counterpart from France P. Sasson created Mural «Renaissance» wall art school number 5 in one of the sleeping areas of the city - Sykhiv. This project, as already mentioned above «Crossword», was a good example of mainstreaming common in the West aesthetic trends of new urban spaces sleeping areas, where almost no art objects. Modern monumental practices primarily focused on dialogue, to encourage reflection on varying issues and respond to the current socio-political problems. In this context it is worth noting S. Radkevych work, including his latest project «Peace» «Mourning» et al., Dedicated to the tragic events in Ukraine in January-February 2014 the artist’s works appeal to include certain archetypal images of sacred Christian traditions and their implementation in modern, current art practice. Thanks to modern interpretations of traditional sacred motifs of his works are in deep spiritual meaning society and simultaneously available to read. The author managed to form a new, recognizable style in the urban artistic practices, which is characterized by refined, aesthetically balanced synthesis of national artistic traditions and innovations. His urban projects appeal to Western trends in art in the urban space that is expressed in the way of representation and neochikuvanosti meaning of distinct social implications. In general, S. Radkevych can be considered the most prominent representative of modern monumental art practices in Western Ukraine. Recently one more powerful Mural created in. In October 2014 the side wall of the house on the Avenue. Chornovil, 29 Polish artist B. Svjatetsky (Bartek Świątecki (Pener) created colorful abstract composition of geometric shapes, embodies the best traditions of Polish street art. Despite the expressive and dynamic character of bright color, painting harmony «fit» in the historically-formed urban space that indicates a professional approach to its implementation. Numerous initiatives latest urban art practices present in almost all cities of Western Ukraine. For example, in October 2014 in Chernivtsi, the first action in the international project «Art for Change», where young artists from the street art team «Kickit» (Lviv) with Chernovchane created a composition on the wall for the cinema «Chernivtsi» called «opposition effect.» In addition, shares held within the training course, which included lectures on «Social art» workshop of the famous Ukrainian artist under the pseudonym Social Sociopath, lectures on muralizm and post-graffiti in the Ukrainian context. In particular, it is important to emphasize that under the action started project «Urban Gallery», which aims to equip public spaces of the city according to European standards and modern trends, demonstrate the diversity of Ukrainian culture. The culmination of the «Urban Gallery» 2014 began painting the fence plant Quartz, on the street. South Ring, dedicated to the acute problems of our time, namely the consequences of the war, the role of media in shaping the consciousness demonstration of patriotism, technologizing influence of society on education and child development, peace and understanding to being positive change, ecology and others. [2]. In the long term project «Urban Gallery» in Chernivtsi planned to develop. It should be emphasized that the urban spaces of Western cities continue to expand with new modern paintings, but not all of them, as already noted, have a high artistic value and deserve proper attention. Under the proposed article examined only the most representative of them. As seen in recent years can be traced on a special dynamic updating of global artistic developments in Ukraine, particularly in the western region. This is due to modern socio-cultural situation where the latest monumental practices are an effective means of national consciousness and updating the memory of the tragic events. Across Ukraine there are numerous patriotic murals, formed a national model street art. In addition, given the new stage of cultural development and national identity of Ukrainian society, perhaps in the coming years will change the approach to the representation of urban space in memory and to replace traditional stately pathos memorial will come new, relevant and adequate time art forms. Undoubtedly, the current number of problematic points in contemporary monumental practices in Western Ukraine, for the approach to implementation is rather haphazard. However, as we see, there are also significant improvements. For further development it is important to work in urban space professional artists who have the necessary skills as the basis for creating objects of contemporary monumental art in an urban environment has become their style and composition matching the existing architectural ensemble and natural space. The important point arises comprehensive training of qualified personnel. Given the relevance of contemporary monumental art practices important to introduce new courses in art and partly technical universities, revealing the basic theoretical and practical principles of operation of urban space. This, in turn, will help expand the scope of traditional monumental art experts, designers, architects, graphic artists, meet the needs of time and will help introduce effective mechanisms aesthetic of contemporary urban spaces. An important new feature is to promote initiatives in their community and balanced support from both the city administration and commercial structures. Actually nowadays see the memorial traditional practices and give priority to innovative projects. After each period has its own artistic language forms and outdated badly perceived by the new generations. In addition, new monumental practices is an important means of constructing cultural identity of the city and part of its branding.

References 1. Bazhkova E. Urban Graffiti / Bazhkova E., M. Lurie, noise K. // Independent cultural journal «JI». - №38. - 2005 [electronic resource] - access mode: http://www.ji.lviv.ua 2. In Chernivtsi was 55 square meters of street art [electronic resource] - Mode of access: http: // oporacv.org/proekt-mystetstvo-zarady-zmin-uspishno-zaversheno-foto/ 3. Vorotnov V. Street art like a log in the eye of national institutions / V. Vorotnov // Art Ukraine. - Number 5 (18). 2010. - P. 8-13. 4. H. Holubec between freedom and totalitarianism. Lviv art environment of the second half of the twentieth century. / A. Holubec. - L., 2001. - S.113-169. 5. Yefimov A. Transformation of artistic practices in urban spaces late XX - early XXI century .: from traditional forms to current models / A. Efimova // Bulletin LNAM, 2012. Vol. 23, 2012. - P. 214-234. 6. Kotlomanov A. Antyfashystskye memoryalы of Western Germany in 1980-ies: cinema problematic antymonumenta in Modern Sculpture / A Kotlomanov // Bulletin S.-Pb. University Press. Avg. 15. Vol. 3. - SPb., 2011. - P. 44-49. 7. Mezhdunarodnыy Street-art Festival «Kiev Muralissimo!». Art Ukraine. [Electronic resource] - access mode: http://artukraine.com.ua/n/mezhdunarodnyy-festival-strit-arta-kiev muralissimo 8.. K. Stanislavsky historical development of graffiti as a cultural and artistic forms of the modern city // Actual problems of history, theory and practice of artistic culture: Coll. Science. pr. / K. Stanislavsky. - K.: Millennium, 2010. - Vol. 25. - P. 238-245. 9. Problems P. M. Shugurov sovremennoho monumental art / P.Shuhurov - [electronic resource] - Mode of access: http: // 3plus1.ru/Decor/Fine_Monumental_Art

Summary The features of updating global trends of art in urban space in western Ukraine. The attention to modern monumental art practices which include conceptual monuments, sculptures, muralizm and partly graffiti. The example of representative projects revealed the specifics of these genres in the cities of Western Ukraine, outlined the problematic aspects and prospects. Keywords: monumental art practices urban space muralizm, street art, graffiti.

Summary Yefimova A. Features of implementation current trends in urban art in Western Ukraine. The contemporary monumental art practices Contemporary art has a number of important functions in urban spaces both in the visual aesthetic, and in the socio- cultural aspects. He was first assigned mission visually uvyraznyty space, give it a certain symbolic and cultural meaning, and bring to society is the problem, or to update the historical, collective memory. These characteristics often inherent in the latest monumental art practices, which include conceptual monuments, sculptures, muralizm and partly graffiti. The article analyzes the global trends of modern monumental practices. The features of updating global trends of art in urban space in western Ukraine. The attention to modern monumental art practices which include conceptual monuments, sculptures, muralizm and partly graffiti. The example of representative projects revealed the specifics of these genres in the cities of Western Ukraine, it is the only unconventional modern design that embodies the concept of a counter monument was erected in Lviv 2011 It is a monument of Lviv professors killed by the Germans during the occupation of the city in 1941. He was a joint project of Ukraine and Poland - in fact, the first and only complete conceptual model of the monument in western Ukraine. Indicative in terms of implementation of current artistic trends began a large-scale project «Crossword» within the Week of Contemporary Art in 2007 in Lviv. This interactive crossword mural was the size of eighteen and thirty meters on the wall of a new multistory building. In materials research outlines the problematic aspects and prospects of further development. For further development it is important to work in urban space professional artists who have the necessary skills as the basis for creating objects of contemporary monumental art in an urban environment has become their style and composition matching the existing architectural ensemble and natural space. The important point arises comprehensive training of qualified personnel. Given the relevance of contemporary monumental art practices important to introduce new courses in art and partly technical universities, revealing the basic theoretical and practical principles of operation of urban space. This, in turn, will help expand the scope of traditional monumental art experts, designers, architects, graphic artists, meet the needs of time and will help introduce effective mechanisms aesthetic of contemporary urban spaces. An important new feature is to promote initiatives in their community and balanced support from both the city administration and commercial structures. Actually nowadays see the memorial traditional practices and give priority to innovative projects. After each period has its own artistic language forms and outdated badly perceived by the new generations. In addition, new monumental practices is an important means of constructing cultural identity of the city and part of its branding. Key words: monumental art practices urban space muralizm, street art, graffiti, current trends of contemporary art, Western Ukraine, artists, artistic designs, current trends, monumentalism, Lviv garde.

Annotation A.V. Efimov Features of realization of current trends in art in an urban environment in Western Ukraine: modern monumental art practices The features of updating global trends of art in the urban environment in the Western Ukraine. It puts more emphasis on modern monumental art-practices into which the conceptual monuments, sculptures, muralizm and partly graffiti. On the example of representative projects revealed the specifics of these genres in the cities of Western Ukraine, marked problematic aspects and prospects of development. Keywords: monumental art practices, urban space muralizm, street art, graffiti. Nadіyshla to redaktsії 02/12/2014 p.

UDC 726.5.03 O.O. Lesik-Bondaruk THREE-DIMENSIONAL AND PLANNING SOLUTION VOLYNI STONE MONASTERY XVII-XVIII CT.

Formulation of the problem. In the twentieth and early twenty-first century, according to the author, the Ukrainian started too careless attitude to their cultural heritage. Known extremely large number of cases where architectural monuments physically destroyed or drastically changing for the latest restructuring or the so-called «restoration.» Monastic complexes often become the main dominant urban and rural development, it is often monasteries were the main starting points from which formed all settlement construction. This article aims to analyze the composition and characteristics of planning Volyn masonry monasteries XVII-XVIII centuries qualified to assist in the preservation, restoration and recovery works at a professional level. Analysis publications. The issue of space-planning and spatial characteristics Volyn masonry monasteries seen in the works of G. Logvin, L. Prybyehy, I. Mohytycha, Yu Nelhovskoho, P. Yurchenko A. Tsynkalovskyy and others. [2, 5-7, 9-10]. For each of the monasteries in Volyn XVII-XVIII centuries. tonnage made drawings of plans and sections. The presentation material. If planning compositional characteristics temples solved in the same structures, the composition and planning monastery ensemble with specific characteristics in relation to certain multi purpose buildings or their parts. Compositional variety of monasteries in the individuality of each band or architectural complex combined logical and natural principles of construction. On the composition of the monastery did influence the following parameters: 1. The primary function facilities, it «profiling»; 2. The nature of the terrain, the surrounding landscape; 3. The location in the village; 4. The nature of the surrounding area and its tectonics; 5. The reconstruction and rebuilding of buildings for historical reasons. When the significance and importance of each of the indicators the main factor composition of the buildings was his profiling function. «Profiling» monasteries depended on the attitude of the authorities to a particular set of his visit, the presence of shrines trade relations. It also revealed the wealth in the monasteries, on which various masters invited for the construction of houses and buildings in the complex. The importance and popularity of monasteries characterized the extent of their development. There monasteries as small size and large architectural complexes. A variety of three-dimensional solution monasteries in Volyn built to author resistant composite groups: closed, compact, blocked, pavilion [Fig. 1, 2]. Each group has its own types of compositional principles interconnection facilities. Monasteries combined into a composite closed group, have clearly highlighted the amount of cells with a courtyard, square or rectangular in plan, over which dominates the temple. In some cases, space-planning solution towers cells are U-shaped solution or a patio is closed, and the second - opened. In all examples, the volume of the house is blocked with the body cells or with the side of the altar. In monasteries composition of this quite successfully combined balance of volumes, their scale, the relationship with the surrounding buildings, landscape (Jesuit monastery, trynitariv in Lutsk monastery in Lyubeshiv). Monasteries compact group settled in the form of several volumes that are blocked from church or cathedral, as well as groups of buildings, united around the church. The monastic courtyard and Cathedral Square before fusion, because the density of the surrounding area. Cathedral, cells with refectory, belfry perceived tight volumes, starting from the entrance to the monastery. There is compositional unity, inalienability structures (Basilian monastery, sharytok in Lutsk, the Resurrection Monastery in Korets). In monasteries blocked compositions disclosed courtyard space and compact volumes, which are subordinated to the cathedral or church. Space courtyard allows to perceive structures with different points. Despite the compact grouping of volumes, some monasteries they perceived panoramic, is dominant surrounding urban development. Typical in this respect Pochayiv Lavra, which is its compositional solution to increase took an active part in shaping the silhouette of settlement (in Kremenets monastery). Group monasteries pavilion composition most significant and divided into several author types: 1. Monastery cathedral square of space; 2. The main buildings are located in a line on the front yard; 3. The center is the volume of the cathedral; 4. Building compactly located near the cathedral. In the monasteries of the main cathedral square space structures, ranging from the cathedral grouped around the area (Bernardine monastery in Izyaslav, Lutsk, Dubno, Nicholas Monastery in Zhydychyn). The monastery Bernardine Cathedral Square in Lutsk clearly delineated Cathedral, horseshoes cells, refectory and metropolitan home. All other volumes, including part of an old cemetery, subject to data structures. In Nicholas Monastery in Zhydychyn cathedral area is subject to a church, which is the dominant complex, located in the center of the court and brings together around a big body cells, building bishop, seminary and bell tower. In the monasteries, where the main facilities are located in one line on the front yard - the main buildings lined up in the front-line with the allocation of economic zones (monasteries in the winter, Myltsyah, Carmelite Monastery in Dubna). The monastery-fortress Winter main entrance located between the north-eastern and south-eastern towers. In a rectangular courtyard in front of the northern and southern walls are the church, refectory, school, tower and belfry. They are compositionally united Assumption Cathedral. Economic yard is completely isolated from the main group of buildings. Are peculiar structures Nicholas Monastery in Myltsyah. Warm Nicholas Church and Church of semi-detached housing in line intact cells and perceived capacity at the entrance to the courtyard of the monastery on the part of the western gate. Ends front track coach house, which is almost perpendicular to put end body cells. South area occupied by the monastery garden. In monasteries where the center of the composition is the cathedral, religious buildings tend to stand in the center of the parallel court and around it at a distance are grouped other buildings (monasteries in Ustenskomu Second, Mezhirychi). These churches monasteries located on the axis of the main entrance, opening space courtyards. Religious buildings is dominant over the other buildings. Utilities and auxiliary facilities constructed behind the cathedral. In monasteries where built compactly grouped around the cathedral courtyard area and the cathedral fusion (Trinity Monastery in Korets). In most of the studied monasteries Volyn should be noted compositional unity complexes. The disappearance of any amounts practically unacceptable because violated the integrity of the ensemble. In the composition of the monasteries there is a strict sequence - from the cathedral accommodation facilities for staging official purpose. Almost monastery ensemble composition depends, first of all, from the placement of the cathedral. Depending on the parameters facilities monasteries many of them manifests the principle spivrozmirnosti. Perception of buildings from different points «stop-motion» has an important psychological moment due to the fact that a large part of the monasteries preserved the fence, and it creates an atmosphere of isolation, isolation. An important role in shaping the look has studied monuments surrounding landscape. Most of the surrounding terrain, water spaces, vegetation are crucial in the formation of complexes. In aesthetic perception of monastic buildings surrounding nature acts as an integral component. It should be noted that the presence of so many beautiful monastic ensembles are the result of the fact that artists and craftsmen created their masterpieces on the basis of stable compositional techniques and rules. And this is true not only for the monasteries in Volyn, but most monasteries in Ukraine [3]. Despite the fact that in all the monasteries in Volyn, which are in a satisfactory condition, tonnage is drawing a systematic study plans of houses and buildings in the monasteries was not held. Functional planning solution buildings in the monastery complex, according to the author, depends on the following factors: 6 utilitarian purpose building or structure; 7. reconstruction and restructuring conducted in architectural complexes, individual buildings; 8. level of engineering and construction machinery; 9. types and a variety of building materials that were used during the construction of the complexes. Each of these indicators could be of particular importance for the planning structure of any monastic buildings in the historical architectural complex formation. The study found that in monasteries there Volyn following the functional purpose of the building: the house building (church, church, cathedral), cells, refectory, bell towers, watch towers, hospitals, publishing, schools, seminaries, hotels, buildings to stay clergy. Past studies of spatial and space-planning decisions of church architecture Volyn and monasteries allowed the author to reveal a number of distinctive features: 10. The construction of each temple - like wood and stone - a distinctive, individual look and planning decisions; 11. Most of the temples can be grouped into typological groups with certain stylistic, compositional and planning features; 12. All churches have in common: at that time a low level of construction machinery and somewhat limited quantities of construction materials architects constructed a variety of planning decisions kompozytsiyno- highly artistic works of architecture. Based on a study of three-dimensional planning and organization of church architecture of the region by the author of the following types of churches, typical for Volyn: tryzrubni, odnoverhi wooden churches, odnonefni, with one, two steeples stone church (in their planning kompozytsiyno- decisions of Volyn close to the wooden churches) and three naves, four -, six pole churches bazylikalnoho type. Conclusion. If the use of church architecture in its main purpose in recent years almost does not cause problems in our country, the rational functional use of other historical and cultural condition of physical and moral preservation . References 1. History of Volyn. From ancient times to the present day [Coll. Science. pr.] - LA: HI. HQ., 1988. - S. 17-30. 2. Kolosok B. Architecture Baroque period Lutsk / BV Kolosok. - K.: Science. opinion, 1991. - S. 30-44. 3. A. Lesik castles and monasteries Ukraine / O. Lesik. - LA: World, 1992. - 186 p. ; il. 4. Lesik AV formation of leisure and tourism in the historic and built environment Ukraine / OV Lesik. - K., 1993. - S. 308. 5. GN Logvin in Ukraine. The ancient art of Interest / GN Logvin. - K., Arts., 1968. - S. 147-205. 6. Mohytych I. Page Architecture of Galicia and Volyn XII-XIV centuries. / I. Mohytych // Bulletin of the Institute «Ukrzakhidproektrestavratsiya.» - L., 1997. - № 8. - P. 3-20. 7. Nelhovskyy Architecture YP second half of XVI - first half. XVII. / YP Nelhovskyy // History of Ukrainian Art: Coll. Science. works. - K., Chief. Ed. Ur, 1967. - T. 2. - P. 56-106. 8. Prybyeha LV Methods of protection and restoration of monuments of folk architecture Ukraine / L.V Prybyeha. - K., Arts., 1997. - 144 p. : Ill. 9. Tsynkalovskyy A. Ancient monuments Volyn / Inst experiments Volyn / A. Tsynkalovskyy. - Toronto: t-in Volyn, 1975. - P. 18-27. 10. Yurchenko PG Art of the second half. XVII-XVIII centuries. / PG Yurchenko, NP Tsarenko // The history of Ukrainian art: Coll. Science. works. - K., Chief. Ed. Ur, 1967. - T. 3. - P. 13-125. 11. Malinowski M. Zarys dziujow diecezji Luckiej oraz katedry sw. Piotra i Pawla w Lucku / Malinowski, B. Kolosok. - Oswiecim, 1993. - S. 95.

Summary Churches, monasteries, because of its historical and architectural value, three-dimensional arrangement and functionality, taking an active part in shaping the silhouette Ukrainian settlements. At the present stage of the towns and villages of Volyn studied monasteries are several types of resistant composite groups: closed, compact, blocked, pavilion. Depending on of a group of monuments have different types of spatial and space-planning solutions. The article gives a certain layer of information useful for future conservation of historic urban Volyn cities, restoration of the monastery building and the harmonious combination of modern and historic buildings. Keywords: Temple building, Monastery, Orthodoxy, Catholicism, three-dimensional description, planning solutions, compositional analysis.

Summary Lesik-Bondarchuk O. Spacious and planning solutions of XVII-XVIII ct Volyn stone monasteries Churches, monasteries, because of its historical and architectural value, three-dimensional arrangement and functionality, take an active part in shaping the silhouette Ukrainian settlements. The study found that in monasteries there Volyn following the functional purpose of the building: the house building (church, church, cathedral), cells, refectory, bell towers, watch towers, hospitals, publishing, schools, seminaries, hotels, buildings to stay clergy. At the present stage of the towns and villages of Volyn studied monasteries are several types of resistant composite groups: closed, compact, blocked, pavilion. Based on a study of three-dimensional planning and organization of church architecture of the region by the author of the following types of churches, typical for Volyn: tryzrubni, odnoverhi wooden churches, odnonefni, with one, two steeples stone church (in their composition and planning decisions of Volyn close to the wooden churches) and three naves, four, six pole churches bazylikalnoho type. Depending on of a group of monuments have different types of spatial and space-planning solutions. The article characterized all the above-mentioned examples. An important role in shaping the look has studied monuments surrounding landscape. Most of the surrounding terrain, water spaces, vegetation are crucial in the formation of complexes. In aesthetic perception of monastic buildings surrounding nature acts as an integral component. It should be noted that the presence of so many beautiful monastic ensembles are the result of the fact that artists and craftsmen created their masterpieces on the basis of stable compositional techniques and rules. And this is true not only for the monasteries in Volyn, but most monasteries in Ukraine. If the use of church architecture in its main purpose in recent years almost does not cause problems in our country, the rational functional use of other historical and cultural condition of physical and moral preservation facilities – is a complex, multifaceted process. Monastic complexes occupy an important place in the formation of urban development as Volyn region, Ukraine as a whole. The author distinguishes several types of resistant composite group studied monasteries are closed, compact, blocked, pavilion. Depending on of a group of monuments have different types of spatial and space-planning solutions. The article gives a certain layer of information useful for future conservation of historic urban Volyn cities, restoration of the monastery building and the harmonious combination of modern and historic buildings. Key words: church architecture, monastery, Orthodoxy, Catholicism, three-dimensional description, planning solutions, compositional analysis, Volyn, Murovane construction, typological features, functionality, a historical monument.

Annotation Lesik-Bondarchuk O.O. The volume-spatial and planning solutions of stone monasteries in Volyn XVII-XVIII centuries Churches, cathedrals, monasteries, due to its historical and architectural value, volume-spatial composition and function, to take an active part in shaping the silhouette Ukrainian settlements. At the present stage of development of towns and villages in Volhynia studied monasteries are several types of resistant composite groups: closed, compact, blocked pavilion. Depending on one or the other group of the sights are different types of volume and spatial planning decisions. The article gives specific information for future preservation of the historical urban area of Volyn cities, attractions restoration of the monastery building and the harmonious blend of modern and historical buildings. Keywords: Temple building, monastery, Orthodox, Catholic, body-spatial characteristics, planning solutions, compositional analysis. Nadіyshla to redaktsії 10/22/2014 p.

UDC 130.2: 75.03 (477) NO Dem’yanova FACTORS TO VPLIVU EVOLYUTSІYU ETNOSTILІSTIKI In ZHIVOPISІ UKRAINY: ІSTORICHNA RETROSPECTIVE

Statement of the problem is the її naukovoї values. On sogodnі іsnuє postіyna require at zberezhennі nashoї kulturnoї іdentichnostі in polіkulturnomu prostorі. In tsomu protsesі Obrazotvorche Mistetstvo vіdіgraє one klyuchovih s roles. Suchasnі dosit Ukrainian artists are often happening at vikoristovuyut Elements s arsenal mіstsevih Obrazotvorche traditsіy rіznih chasіv. Rіznomanіttya Tsikh traditsіy sprichineno zovnіshnіmi that vnutrіshnіmi factors vplivu protyagom evolyutsії Mistetstvo. Rozkrittya tsієї those daє mozhlivіst glibshe zrozumіti nature etnostilіstiki have zhivopisі. Metoyu stattі Je prezentatsіya faktorіv vplivu that їh role evolyutsіyu etnostilіstiki in ukraїnskomu zhivopisі. Viklad main materіalu th obґruntuvannya otrimanih rezultatіv doslіdzhennya. One іz viznachalnih chinnikіv scho vplinuli on formuvannya hudozhnogo Zhittya Ukraine became її roztashuvannya yak mezhovoї Smuha mіzh converge i comes from the cultural, geografіchnomu, іstorichnomu, polіtichnomu, sotsіalnomu that іnshih aspects. Kuzmіn E. 1900 p. on storіnkah Journal «Kiєvskaya old» nagoloshuvav on unіkalnomu geografіchnomu i cultural roztashuvannі Ukraine mіzh converge i comes [8]. Yak zaznachaє Z. Sapєlkіna, posilayuchis on teorіyu amerikanskogo vchenogo S. Gantіngtona, Ukraine roztashovana on mezhі tsivіlіzatsіy «trivale perebuvannya of Ukrainian lands from skladі rіznih Reigning utvoren (Litovskogo knyazіvstva, Rechі Pospolitoї, Austria-Ugorskoї, Osmanskoї that Rosіyskoї іmperіy, Polschі, of USSR ) prizvelo to formuvannya spetsifіchnoї strukturnoї konfіguratsії tsivіlіzatsіynih svіtіv «[10]. «Especially napruzhenim processes formuvannya etnokulturnoї іdentichnostі postaє have prikordonnih cultures scho іstorichno funktsіonuyut on Perehrest tsivіlіzatsіynih masivіv i vіdrіznyayutsya spirituality syncretism. It combines two ways of creating ethnic and cultural identity, and isolation, and universalization «[3]. Kovalenko major factor in art sees styletvorennya geographical conditions and mentions factors such as people’s (racial) character, level and type of culture, the material from which the artist works and cultural relations with neighboring nations. That is, development style exposed to the same influences as the culture in general [7; 3]. V. Temple wrote that Ukrainian geographical environment - «wavy softness» forest or «boundless expanse» desert evokes no aggressive activity and promotes contemplative guidelines, «love for infinite, absolute and unattainable» [13; 53]. An important factor in the formation of Ukrainian art is the mentality of the people. At the same time determining factors of formation of the Ukrainian mentality A. Kulchytsky calls «Heopsyhichni factors» [10]. More Spengler wrote that «every culture is tied to the bosom of his landscape» [13; 667]. Indicative is the monograph C. snowballs, which Ukrainian natural environment offered as person-forming heopsyhichnyy factor [11]. V. Temple writes about the historical factor of influence on the Ukrainian psyche. She drew attention to the existential concept of «boundary situation», «chance», «death threats» that led to their geopolitical situation of Ukraine [13; 53]. According to N. Yarantsevoyi, national cultures uniqueness consisted not only based on the cultural heritage of ethnic groups that merged into one or another nation, but as a result of continuous cultural interaction with ethnic groups who were perceived as strangers [15; 40]. A. Kulchytsky main factors forming the national psyche believes racial, geographical, historical, sotsiopsyhichni, kulturomorfichni. The author also drew attention to such an important fact as a geopolitical «mezhovist» Ukraine and in exceptional advantage in some periods of the history of Ukrainian peasant stratum of society [9; 708]. Proslidkovuyuchy etnostylistyky evolution in Ukrainian painting and its relationship with various impacts using the historical method, is to start with the existing ancient pictorial system Tripoli culture. Schematic anthropomorphic and zoomorphic image function is performed mark, symbol, talisman, ideological. The decisive role played mythological ideas and religious beliefs. Hence the anonymity tripol figurines (like all female characters of primitive art), schematism face, feet, hands and often lack realistic about the transfer of the body as a receptacle life-giving spirit, the origin of life. Local fauna also left its mark in the works Trypillians - they portrayed animals which have seen with my own eyes, considering her totems and often synthesizing these animals with anthropomorphic images. These syncretic forms embodied different aspects of the Great Goddess in her many guises [4; 282]. The ancient cosmology, cosmogony embodied in symbols and signs of Trypillya ceramics. In the decoration of dishes, as well as statuettes of women and animals played an important role in the landscape smooth lines - «Wavy softness», inhabited Trypilians. Sedentary encouraged to images of domestic animals and plants, as well as women as a home guard and continuer kind. Unlike trypillya peaceful agricultural people, humanity Scythian-Sarmatian culture differed more aggressive and warlike nature, which is reflected in «Animal» style in art. J. Kaminska explains the use of the Scythians images of animals that animal style contains basically no totemic and magical idea [6; 74]. As noted by N. Andreyev, the Scythians were not their own symbolic characters and images required for the expression of the mythological world view, so they borrowed symbols from other cultures, and interpretuvavshy comprehended it differently [1; 3]. Important role in this process played Scythians trade relations with other nations. Impact and totems and militant nomadic lifestyle also affected the Scythian culture. Local area animals, mythology, philosophical idea - all this was reflected in the Scythian and Sarmatian art. The cult of force, assault, war, victory is embodied in images of aggressive beasts that attacked, tormented, killed the victim. Unlike agricultural peoples, where the cult of women combined with the cult of mother earth, procreation, family guardians in the outlook of nomadic peoples clearly dominated the cult of man conqueror weapons. Terrain residence also left its mark on images of Scythian art. Despite the aggressive mood, there is the advantage of smooth lines on sharp, expressive. Culture ancient Slavs there were elements characteristic of earlier periods of evolution of society. Pagan art based on mythological worldview and ancient idols (based on those attractions that remain) echoed with the Scythian sculpture. The same laconic, symbolic, symbolism, no sharp corners. These sculptures are not aesthetically fit into a seamless landscape. In the visual arts were combined anthropogenic and zoomorphism deities. There synthesis pattern of previous cultural epochs: transformation trypilska Mother Goddess in great kind of mother (Rozhanitsy, Bereginya) and Scythian zviroform images in lower pagan deities (spirits, monsters, werewolves, etc.). In the works of art of local fauna is complemented with exotic animals (the result of international relations). Geographical and climatic features of the territory, celestial bodies, natural environment as reflected in art pagan. To beliefs of ancient Slavs are typical representation of natural and natural deities in anthropomorphic form - «humanization» elements. Zoomorphism prevails in the images of lower deities, various spirits, demons. Perhaps this anthropomorphism and later became the impetus for the adoption of Christianity with its anthropomorphic God. It is much more complicated phenomenon of visual art became icons. D. Stepovyk observes that the icon of Kievan Rus is not as graphic as its predecessor - Byzantine; in ancient icon prevail streamlined, gentle, soft contours. The author draws attention to the warm colors in contrast to the brownish tones of Byzantine pattern suggests a significant impact on people’s canonical icon painting [12; 34]. Receded into the background natural and geographical factors, flora and fauna, and the dominant position occupied religious beliefs. But the pagan past in outlook and habits leaves its mark. Moves even in Christian paintings: the image of the Great Foremothers transformed into the image of Our Lady, the cult of the warrior-protector turns into a cult defender of Christ, the supreme god in the cult worship of the Creator-Demiurge. It played an important role Slavic mentality with the possibility of pagan-Christian duality. Significantly heopsyhichnoho and impact factor: smooth flat terrain generally peaceful nature of local residents observed in a relaxed smooth lines icon. Historical and political and psychological factors also played a role: the daily uncertainty, causing attacks of nomads withdrawal of consciousness from the real world, search under. And the influence of physiological factors: the faces of the saints acquire ethnicity. Exchange of cultural experiences enriched the cultural heritage of ancient Rus: travel, trade, diplomacy, education, conquest - made their share of the development of culture and the arts. The spirit of the Middle Ages in general with its rejection of human flesh clearly affected the Eastern Christianity worship. D. Stepovyk wrote that the Ukrainian icon like receptor, fixed all states and feelings of the Ukrainian people, especially the icons XIII-XV centuries after the Mongol conquest, when people turned with renewed strength to God as the only savior in a difficult situation conquered and plundered the country [ 12; 36]. Especially prevalent were the images of the Virgin as patron. As Ukrainian art after the Mongol period there is a new line: folk art. As for iconography, the effect of this factor is constant, albeit slow and moderate form [12; 42]. Since the beginning of the sixteenth century. Ukraine in spreading the influence of Western Renaissance trends and is clearly visible in the second half of the sixteenth and early seventeenth century. In napivabstraktni form icons brought a fresh breath of the Renaissance. At the same time there is a separation of the portrait as an independent genre. Religious, political, and historical factors heopsyhichni are crucial to the development of iconography and portrait this time. Religious factors play a key role: iconography remains dominant, although in the Western artistic influences it is realistic that brings the portrait icon. Formed a new style of writing based on authentic traditions and foreign borrowing. In the portrait genre of religious influence is manifested in the person demonstrating affiliation to a particular denomination, pious poses relevant attributes such as prayer, cross, etc. In contrast to the iconography of the portrait considerably strong social impact. This image is higher strata of the population, representation of social status, piety, old race, wealth, demonstration regalia, badges, emblems. Social factors are closely intertwined with historical and economic. Accordingly, the historical factor of influence is determined that depicted real historical person of relevant contemporary to her entourage. Portrait of a reflection of the era, its visual component document. In XVI - first half of the seventeenth century. development of portraiture depended on ancient artistic traditions, folklore, Western influences and was closely associated with the national liberation movement [2; 9]. Iconography except the dominant religious influence, subjected to the action of such factors as geographical, socio- political, etnoistorychnyy. Geographic factors, as noted, appear in the style of writing (smooth lines, warm colors, elements of landscape). Social and political influences are demonstrated in the introduction to the icon images of political figures. Etnoistorychnyy factor, respectively, there is an icon in engaging in national dress, architecture, ethnic facial features of the face. Historical conditions are reflected in the images of saints, notably what deputies were popular at one time or another, which implies, which is faced problems of the population. Political and social atmosphere, namely, the existence of Ukrainian autonomy late XVII - late eighteenth century. led to the development of national culture and art of the period. Such historical factors as wars of liberation and national revival caused a wave of growth in the fine arts of Ukraine. In painting dominant icon and portrait. Western European influences, on the one hand, and the neighboring Russian and Turkish, the other - the Ukrainian art cherished Western realism and Oriental ornamentation. Baroque ornamentation, pathetic, dramatic organically entered the Ukrainian art, acquiring its own interpretation. Travel horizons expanded worldview professionalism. Iconography came humanistic traits, the portrait became more realistic. Social impact is manifested in the fact that the person depicted was middle or high social status, nobility, gentry, Cossack elite, wealthy burghers. Ukrainian art in the Empire was under the dominant religious and political influence. Iconography took over a large number of features of Russian icon-painting. As Ukrainian icon input images of Russian saints. Folk painting that constantly had an impact on Ukrainian icon, something lost on the background of the dominance of «n» of Byzantium. Western painting synthesized iconography and ornamentation East. Felt confounded conquest, education, travel, business travel, diplomatic meetings, cultural relations, mobility of artists. Nineteenth century. generally characterized by the formation of a pan-European cultural model as the model for all other crops. Although Ukrainian artists studied in the Petersburg Art Academy and other academies in the world, they enriched the world culture and art of their own, opening a world Ukrainian realities. However, the impact of academic method nullifies image etnospetsyfiku painting. Freie space remained only folk art. At that time, professional and national painting estranged for maximum distance. Art Nouveau was simultaneously step into the past and future. National cultural revival in the turn of the century had much in common with similar movements of the nineteenth century throughout Europe. Stressful social and political conditions limits the nineteenth and twentieth centuries, the world crisis, accelerating the pace of life could not ignore and arts. As a result - rate advantage over the balance in a modern art, grotesque form of curves, dynamism, symbolist and allegorical images of boundary mental states rights. Popular are the motives escape from the outside world: an appeal to the theme of fairy tales, myth, dreams, ghost, mystery, fantasy. Orientalism pan prevalent, not only in art as fashion, but also in outlook, with its deepening in the spiritual world, into the heart itself, rapprochement with nature as the supreme spiritual essence. The peculiar nostalgia for nature, the kind given to art nouveau elegance and graphic contours, fine lines plasticity, lyricism plant motifs, decorative works. However, the atmosphere of national and cultural renaissance prompted to search deep roots culture. Hence the desire for archaic, authentic, epic, reincarnation spirituality and artistic traditions of past eras styling. In the arena of Ukrainian art out «ukrainian vizantyka» and neoprymityvizm. According to L. Sokolyuk, in the wake of the national-cultural development in Ukraine in the late nineteenth century. Society felt the need for a modern national style. It was first consciously meaningful appeal to their historical roots and artistic traditions [15; 88]. The response to the call time was neo-Byzantine works of M. Boychuk and his school, which was simultaneously oriented in Byzantine iconography and Ukrainian folk painting, thus forming neomythologism and neoprymityvizm in art. However, without continued ethno-national revival and new interpretation of the artistic treasures of Ukraine. «The stumbling block in the second half of 1920 was the problem of national identity and national forms of the concept of Ukrainian art M. Boychuk, coming into conflict with the Stalinist national policy, with its concept of» socialist culture - proletarian in content and national in form «[ 15; 106]. Boychukisty accused of «religiosity» «Bourgeois», «peasant element», «kulak psychology», «nationalism», «formalism.» As you know, boychukizm as artistic phenomenon, was destroyed physically, banned and removed from memory and therefore etnostylistyky art phenomenon that gained momentum, was artificially destroyed the political system. Mass terror, repression, hunger completed this process. However, continued artistic achievement boychukizmu life outside the USSR, to later return home. Ukraine avant-garde art was born in modern style, where it was taken detachment from realism, shape deformation, symbolism, psychological and other characteristics. At the same time avant-garde art more expressive, more intelligent and buried in the collective subconscious. Rural element with a bang heard in the works of avant-garde. The twentieth century. was the most dramatic, not only in world and national history, but the history of fine art in Ukraine. This rising point modern and avant-garde, and political persecution and «flirting» in the 20-30 and 50-60 years of artists, creating visibility of creative freedom, national recovery in fine art. There is a revival of iconography foundations of medieval paintings, baroque, art borrowing from other cultures. Here there are physical and mental persecution Artists for «formalism» and «nationalism» .And finally, the final decade of the twentieth century. - Ukraine gained independence. The dominant historical and perceived political influence, manifested as extremely negative and positive at different times. But despite the catastrophic consequences of Soviet terror, though, is the revival of traditions at the genetic level, feeding on samples of past eras, using donor unbiased diaspora artists. Spiritual influence factors reflected in the revival of religion in the former post atheistic territories, return of spirituality, reincarnation paganism, making the art of philosophical beginning, the cultivation of national values. Geographical factors had less impact because of the high mobility of the population, familiarity with different landscapes, cultures and arts. XXI century. characterized by a permanent process of revival and preservation etnotradytsiy. On the one hand, the historical and contemporary political factors are favorable for etnorenesansu, on the other - globalization threatened leveling ethnic culture, causing the reverse process - the opposition and, consequently, etnorenesans. In general, the evolution etnostylistyky in Ukrainian painting influenced by various factors. Geographically climatic conditions have led to the warm, happy colors, smooth lines, wealth zoomorphic images in painting, gave rise to the cult of the earth and mothers, embodied in the images of visual art; Religious influences formed a pagan-Christian worldview, and then samples pagan symbols and Christian complex iconographic system; historical and political factors influence reflected in the constant pursuit of revival and preservation of past artistic traditions contrary to the prohibition and destruction and opposed to globalization; social factors had an impact only to the nineteenth century. when the portraits depicted the representatives of only certain segments of the population in a way that most efficiently covered portrayed social status; psychological and mental factors played a role in shaping Ukrainian etnomystetstva built on emotional contrasts, playing in painting joy-worth, asceticism, humanity, life, death, beginning-end, attraction to archetypes, etc .; philosophical and cultural factors were humanistic outlook artists open and closed simultaneously etnomystetstva against foreign artistic influences.

References 1. Andreeva NB Scythian culture: method. instructions / NB Andreev. - Nikolaev: NUS, 2004. - 2. 52 p. 3. Mikhail Anikin Ukrainian portrait painting / Mikhail Anikin, F. Umantsev. - K: T t-Ukrainian Cultural Relations Abroad, 1970. - 78 p. 4. Bilchenko EV strange motive as a factor in the formation of ethnic and cultural identity of Ukrainians / EV Bilchenko // Visn. Chernigov. state. ped. Univ. Series: Philosophy. - Chernigov, 2010. - № 75: Second reading of philosophy Kulish ethnic culture. - P. 84-88. 5. Burda NB Tripoli culture. Memories of the Golden Age / NB Burda, M. Videyko. - X: Folio - 2007. - 415 p. 7. Kaminska V. Origins and semantics of images Scythian animal style / V. // Kaminska 8. Siverschyna in the history of Ukraine. - 2011. - № 4. - P. 74-78. 9. Kovalenko GA on Ukrainian and Ukrainian style house / GA Kovalenko. - K., 1912. - 28 p. 10. Kuzmin EM • Several words about the South Russian art and the problems of ego Studies / 11. EM Kuzmin // Kievan antiquity. - 1900 - Vol 71 - November. - P. 326-332 (dep. 1). 12. Kulchytsky A. Features characterology Ukrainian people [electronic resource] / A. Kulchytsky // Encyclopedia of Ukraine - I (general part). - Munich New York, 1949. - T. 2. - P. 708-718. - Access: - http://etno.uaweb.org/lib/ kulczycki.html 13. Sapyelkina ZP historical retrospective formation confessional space of Ukraine [electronic resource] / ZP Sapyelkina // Selected All-Ukrainian. scientific-practic. Conf. V cultural memory of reading Podkopayeva. - Access: http://culturalstudies.in.ua 14. Snizhko VV Ukrainoznavstvo: natural psycho-philosophical concept: monograph / 15. B. Snizhko; MES of Ukraine, Ukrainian NNDI. - K., 2010. - 528 p. -WITH. 495-518. 16. Stepovyk DV History of the Ukrainian icon X-XX centuries / DV steppe. - 3 ed., Erased. - K.: Lybid, 2008. - 436 p. 18. Temple VL Ukrainian soul. The problem of Ukrainian mentality / VL Temple. - K.: Phoenix, 1992. - 128 p. 20. O. Spengler Decline of Europe: Essays mythology myrovoy history / Spengler. - M., 1993. - T. 1. Gestalt and reality; Per. s Nam. KA Svasyana. 22. Yarantseva NA Preemstvennost and Interaction of cultures in society hudozhestvennoy life / NA Yarantseva. - K.: Science. opinion, 1990. - 157 p. 23. History of Ukrainian Art: 5 t. / NAS of Ukraine. IMFE them. MT Rila; home. Ed. G. Skripnik sciences. Ed. TV Kara Vasilieva. - K., 2007. - Vol 5: The art of the twentieth century. - 1,048 sec.

Summary The main factors influencing the evolution of art etnostylistykyv Ukraine, describes the results of these actions historically. Tags: art, influence, Ukrainian painting, evolution, etnostylistyka.

Summary Demyanova N. Factors of influencon the evolution of ethnostilistic in the art of Ukraine: a historical perspective One of the main factors that influenced the artistic life of Ukraine in different historical periods, was its location as a boundary strip between East and West in the cultural, geographical, historical, political, social and other aspects. An important factor in the formation of Ukrainian art, the author emphasizes, there is the mentality of the people, which makes a number of changes in thinking, behavior, response forms, cross-cultural contacts and others. The article examines the main factors influencing the evolution in art etnostylistyky Ukraine, describes the results of these influences in historical retrospect reveals the most common forms of display of art in every historical epoch, the role of intercultural contacts in the formation of an art form. The main emphasis is on art forms considering the second half of the twentieth century and contemporary art in Ukraine, its forms of existence, evolution; highlighted in shaping the specifics of different regions. XXI century is characterized by permanent revival and preservation processes etnotradytsiy. On the one hand the historical and contemporary political factors are favorable for the formation etnorenesansu, on the other – globalizations have created a tangible threat of leveling ethnic culture, causing the reverse process – the opposition and, consequently, etnorenesans. In general, the evolution etnostylistyky in Ukrainian painting influenced by various factors, stresses the author of the article. Geographically climatic conditions have led to the warm, happy colors, smooth lines, wealth zoomorphic images in painting, gave rise to the cult of the earth and mothers, embodied in the images of visual art; Religious influences formed a pagan-Christian worldview, and then samples pagan symbols and Christian complex iconographic system; historical and political factors influence reflected in the constant pursuit of revival and preservation of past artistic traditions contrary to the prohibition and destruction and opposed to globalization; social factors had an impact only to the nineteenth century, when the representatives of the portraits depicted only certain segments of the population in a way that most efficiently covered portrayed social status; psychological and mental factors played a role in shaping Ukrainian etnomystetstva built on emotional contrasts, playing in painting joy-worth, asceticism, humanity, life, death, beginning-end, attraction to archetypes, etc.; philosophical and cultural factors were humanistic outlook artists, both open and closed etnomystetstva against foreign artistic influences. Key words: art, influence, Ukrainian painting, evolution, etnostylistyka, etnorenesans, XX-XXI century totalitarian system, Ukraine garde, modern, cultural landscape, West-East, intercultural contacts, traditional, contemporary artist, lifestyle, globalization, historical retrospective.

Annotation Demyanova N.A. Factors of influence on the evolution of the ethnic style of painting in Ukraine: historical retrospective The main factors influencing the evolution of etnostilistiki in the fine arts of Ukraine, describes the effects of the historical perspective. Tags: art, influences, Ukrainian art, evolution, etnostilistika. Nadіyshla to redaktsії 10/28/2014 p.

UDC 730.071.1 (477.87) L.A. Korzh-Radko UNKNOWN WORLD GRAPHIC IMAGE TRANSCARPATHIAN SCULPTOR BOGDAN CAKE

Business card creativity Bohdan Korzh is definitely sculpture, which he since the early 80s actively present their art in Ukraine and abroad. The paper sculptor prefers a more solid material - the stone he enjoys working in marble, granite, travertine, gabbro. The next chosen material is bronze, which, if possible, takes his first sculpted in clay work. B. Korzh is a master of portrait genre, he made a portrait gallery of famous and less famous people as sculpture in the round - and in relief. Stone used mainly for chamber works and monumental sculpture: the female nude stylized and abstracted forms of composition. But there is another side of his work, which was and still is unknown - a hundred graphic sheets, which are stacked in thematic series from different periods of his life. His graphic series B. Korzh started in the 80’s, that young creative personality formation occurred simultaneously with their creation and development stages to appear in the pictures. These works can be divided into several series as the size and the subject of interpretation and form. First letters made while studying in Uzhgorod College of Applied Arts, then went to a new level, continued in m. Lviv, where the young author was educated already in the walls of the Lviv State Institute of Applied and Decorative Arts. The next stage - while serving in the armed forces of the USSR and later - during teaching in native art school. So study these works highlights not only the formation of the author and the various influences on his work, but both of them can be traced mood and artistic trends of progressive young contemporary art in Western Ukraine. Graphics B. Korzh as «blog» captures new trends, searches and creative achievement among students and young artists of the western regions, where information on the advanced modern world trends though acted belatedly, but still ahead of other regions of Central and Eastern Ukraine. Formulation of the problem. Devoting himself entirely sculpture, Boris Korzh did not attach special significance to his mostly black and white composite figures. Created them spontaneously, and sometimes consciously, sensing the changes in mood and his own «I» and the situation around you. Yet they are extremely interesting, but, besides certain self-exploration and self-examination, it is a series of highly figures, each of which repeats and develops and continues a line of plastic images started showing inexhaustible ideas and options for composites research. These works were created in the early years when the artist actively investigates and responds to all that happens in the world, art and, ultimately, to yourself. Therefore, they can be seen as creative writing and formed the credo of the author. Analysis of the study. To highlight the theme of B. Korzh addressed critics and journalists. But most attention paid to research his work A. Gavroche in his introduction to the album «Favorites» [2], in the preface to a personal directory in 2013 [6] to the artistic and publishing the magazine «Artania» for 2014 [2]. In these studies, the author makes an emphasis on the development Korzh as a sculptor, summing up its achievements and analyzing the creative inheritance in plastic. Aptly describes art heritage sculptor conclusion: «Today, creative pursuits distinguished sculptor desire for imaginative generalizations and symbolic and metaphorical sense. B. Basis Art Korzh - the concept of metaphysical nature. He fully realized himself as an artist-thinker, plunged into the maelstrom of changing experiments with form and material «[2; 142]. People’s Artist of Ukraine, known Transcarpathian painter E. Kontratovych back in 1993 so spoke of a personal exhibition of the sculptor: «As works of Bohdan Korzh, they can give short, but, in my opinion, considerable criticism: they are full of internal dynamics, filled true lyricism, external (but superficial) beauty» [6]. The article is the opening page of Transcarpathia unknown wizard plastic B. Korzh - several graphic series, which include dozens of letters created in 80-90 years of the twentieth century, and prove that this heritage is an integral part of creativity of the artist, which helps to imagine the figure of the artist and his place in the all contemporary art. Research results. Worldview young artist influenced by many factors: birth and childhood in Czechoslovakia, moved to the Soviet Union, the political situation in the country, with dissonant patriotic education in the national conscious family returnees. This caused internal protest poured in children’s drawings on the margins of the first own «Poet» Shevchenko, whose parents gave for the successful completion of Grade 1, after returning to his homeland in. Hust. These first pictures shablyuk, guns, drills Cossacks and eventually went to the «underground» and transformed into complex abstracted characters. 1968 Bogdan comes to Uzhhorod School of Applied Arts Department at «Art Metal», and in August of the same year the newly student witnesses as Soviet tanks Uzhgorod go through the west, and one of the tankers, lost control, crashed into a wall of the house then (ironically) Square reunification. Thus, the Soviet Union marks the 30th anniversary of the introduction of the Carpathian Ukraine troops in turbulent Czechoslovakia. In protest, a young artist carves ґumi stamping trident and a national symbol of all that can not be used for this - perhaps it was his first printmaking. After adapting to the new environment, dating from the emblematic to him and Uzhgorod charismatic personalities, including Paul Bedzir, Echi Seman Joseph Pal et al., Is the development of more creative person. While the graphics appear first attempt, which, in addition to social and dissent inherent maximalist youthful and romantic themes such as unrequited love drama, dissatisfaction with themselves, the problem of finding their own place in society, and hence - loneliness. The theme of loneliness is typical for most creative people, but it is felt particularly acutely in his youth, when searching for himself, ways of expression in the works.

In the tunnel. 1972 Overthrown. 1972 Throne Thorns and 1972 Bubbles. 1973

The launch of the first series of graphic accounts for the years of study in Uzhgorod. It should focus on getting acquainted with Paul Bedzirom - bright personality, Carpathian guru of creative youth. His influence is felt not only in creative work but also in outlook, philosophical beliefs, capturing yoga and fasting. Engineering graphics performance sheets elected improvised materials: notebook, pen and automatic pens, Monotype, ink, at least - a pencil. The choice of these techniques also due to examples from the work of AP Bedzira, but the principle was the use of others. Bedzir his major works carried selecting forms, prepared proshkryabuvannyam on a black background, while working Korzh, picking up form, gradually deepening tone. While studying in Uzhgorod B. Korzh reads a lot, is fond of literary works «Dandelion Wine» and «451º Fahrenheit» by R. Bradbury - one of the most famous science fiction. Large impressive student trip to the Soviet Baltic countries and direct acquaintance with unique works of Čiurlionis (synthesis of music and painting) Memorial Museum in the city. Kaunas. Since 1969, after the suppression of the «Prague Spring» (previously gave permission), the family often visited Czechoslovakia, where parents left many friends from years of study at Ukrainian free and Charles University in Prague. My parents were friends with the families of M. Galagan, Doctor of Science, a famous state, political and public figure, S. Klochuraka, President of Hutsul Republic, whose daughter Olga - was a close friend Nurse B. cakes. During these visits, the young student attends all that possible, Prague museums and galleries, studying and absorbing like a sponge, advanced European trends. These developments bring the knowledge and creativity of young artist newest modern motifs, adding complexity to the works of construction, wealth symbols, playing with forms and rhythms. Self-education is changing rapidly and capture ideas struggle between good and evil, light from darkness, barbarism Knowledge of R. Bradbury - coming new authors. Extremely big impression on the artist’s last novel, the German writer, Nobel laureate G. Hesse «Glass Bead Game», which became a revelation to readers of the world as a kind of synthesis of religion, philosophy and the arts. Read out while he and Whitman, pioneer of free verse, of whose book «Leaves of Grass» confesses the idea of universal brotherhood of people, positive science, love and partnership. Under these cosmic latest ideas closeness to nature outlook of the young artist is expanding, opening new horizons. Under the influence of the then prevailing situation in the country and family nationalist beliefs graphic images Boris Korzh get new cosmopolitan character. In the symbolism inherent rebellious imaginative series of the first works that resonates with socially active lifestyle author superimposed fresh-European art trends. After completing studies at the Uzhgorod College of Applied and Decorative Arts and dreaming of sculpture in 1973 Bogdan entered the ceramics department at Lviv State Institute of Applied and Decorative Arts, by selecting the specialty is ceramics - she was directly related to the volume and work with clay (love Sculpture at the time was not yet). The young artist increasingly fond of sculpture, without leaving their design graphic series. Various cultural and artistic environment captures the city, there is more information and new guidance, new acquaintances. Gradually the world of graphic images and language at the same time complicated graphics honed skills. In the compositions appear geometrically and decorative construction plane, which echoes the futuristic avant-konstruktyviskymy search early twentieth century. Alexander Rodchenko [5].

Before the window. 1977. Roman. 1976. City. 1977. Bureaucrat. 1977.

Noticeable capture Norwegian painter and graphic artist E. Munch [9], postmodernists, symbolist, which is considered the precursor of Expressionism and early work of the Swiss artist G. Ernie [7], which at one time was a member of the Paris grouping «Abstraction Creation», where he met and, no doubt was influenced by such pillars of abstract art as Brancusi, Gabo, Mondrian, Moore. A young artist in his work is the stages of metaphysical ideas about the world and search their expressive graphic expression. His work inspires sculptors such as Moore, Bourdelle, Meshtrovych, Archipenko, information on career which at that time becomes available. All acquired knowledge and experiences accumulated and syntezuyuchys creatively improved and transformed into new compositions. The style of the last works distinguished by its emphatic expressiveness, dynamic, plastic images acquire a certain volume, skulpturnosti. Graphic language devoid of nuances and uncertainties halftone, all the elements: lines, spots - the most important tense and stressed. The graphics of this period is based mainly on the intersections of straight lines, geometric forms, which are intertwined, creating a dynamic, active composition explode their energy. Present three- dimensional impression, bump plane of the paper, which, of course, entails the seizure of sculpture.

Metaphysical Metaphysical Metaphysical Metaphysical landscape. landscape. still life. still life. 1988. terracotta. 1978. Paper, ink. 1988. terracotta. 1978. Paper, pen. Clear plastic graphic images as if mechanically superimposed on, plastic, creating a metaphysical situation, the reading of which requires attention and focus the viewer. With the experience of the composition are becoming more perfect and balanced, where the author’s opinion embodied in specific forms, which complement each other, making for a complex rhythms and contrasts of scale form, lines and masses in a balanced, complete composition. The works of these years show parade plastic ideas, executed in black and white graphics. These then are the author searches the database of composite schemes for future incarnations in volumes and forms. Yin and yang. 1980. Drop. 1981. Severed space. 1980. In the guard. 1981. The combination of creative expression language graphics and sculpture was and is common among sculptors. First, the artist always fixes his thoughts on paper, but Boris Korzh and likes to joke that he was a sculptor, not a painter, realizing that these concepts are inseparable. Every true artist knows that artists think with a pencil in hand, and each of them performs preparatory drawings to sculpture. One of the most outstanding sculptors of the twentieth century. EA Bourdelle believed that to be able rysuvaty means - to be able to think. [8] Second, in history there are many examples within graphs that were involved in sculpture and vice versa, including such meter sculpture of the twentieth century. As G. Moore - British sculptor of signs and symbols that moved freely between figurative art and abstraction [1] . His series of drawings on the brink of documentary and historical grotesque reportage, where human figures deprived of individuality and there seemed beyond human. The main figure in the expressionist sculpture - E. Barley - was not only an outstanding sculptor, but also graphics illustrator as well as his compatriot Karl Kollwitz. And such examples abound. [1] Figure is a good tool for a quick fix ideas on paper and modeling conditional volume - than they are identical, sculpture and graphics.

Self-portrait. 1976. Student. 1975. Portrait. 1975. Physicist. 1974. In abstract metaphysical quest, in B. Korzh is a series of works of the human figure: this is mainly portrait composition. The author often refers to the self-portraits that stand its psychological concentration, integrity insult reinforced inner emotion. Portraits always solved summarized and composition: they can take the whole format, visually filling the plane. If necessary composite design figure may change down or sideways. This, of composition «unbalanced» option conveys uncertainty, negativity image, example of this is the work of «bureaucrat.» In graphic letters felt a strong arm and style sculptor, not subject to descriptive, plot development, zmalovuvannya life, but most tended to generalize and typing. Skulpturnist image underscore tension lines and forms, content filling graphic images, optical illusion bump plane. Technology by itself does not interest the author, he chooses the available materials, which are always at hand, these minimal means reaching maximum intensity. During these periods created dozens of different sizes and themed series, that change each other, forming a kaleidoscope of ideas for future projects perceived as three-dimensional objects. Over time, some of them have been translated author in the volumes of stone or cast in bronze reliefs.

І.2003 metamorphosis. І.1979 metamorphosis. ІІ.2003 metamorphosis. ІІ.1979 metamorphosis. Bronze. Papіr, kulyk. Ručkay. Bronze. Papіr, kulyk. Ručkay Significantly, a sculptor friend, leaving for permanent residence abroad, suggested Boris Korzh buy these graphic series as sketches for the bulk plastic. Of course, the author refused the offer and even never exposes them to the general public, presenting exhibitions on reporting only their sculpture. The creation of these letters Korzh given for many years: education, military service, while teaching at the school - and perhaps because the author does not hold them, for they too autobiographical and illustrated, first of all, himself. Conclusions. Over the years, creating graphical series B. Korzh developed its own inherent only to him, graphical language that is known immediately and without any doubt, characterizes its unconditional belonging to the sculptor’s hand - is read at first glance to dynamic, clearly modeled, peremptory letter. Realized simple means, ballpoint pen, ink - the images of encrypted characters to read thoughts the author gives tips in some studies it arrows, crosses, dotted, barbed wire, numbers, codes, and so on. This figurative reception «Aesop language» not only caused many perepletin linearity plot, but the then party and repressive society. When returning after training in Transcarpathia Korzh was attached to the label «anti-Soviet abstractionist,» at least so it vidrekomenduvaly «artists» of the range. At first glance, graphic compositions perceived as decorative and abstract plane, but when trying to read a deeper penetration codes - open buremnist spirit, internal protest, youthful glow. Clearly modeled images demonstrate formed personality and a stable stance author. They like engraved in the metal, its tense lines and ensure clear dynamic strokes reminiscent of mint technique that Boris Korzh studied during the practical classes in the school. No doubt, halftones and nuances, it most clearly, vividly, with promising grooves - almost physical sensation of volume, bump image. These graphic compositions are an integral part of the works of sculptor K. Bogdan Carpathian and certainly should take place in future expositions and Ukrainian contemporary art.

References 1. S. Valeryus Prohressyvnaya twentieth century sculpture / C Valeryus. - Moscow: Yzobraz. Arts, 1973. - 420 p. : Ill. 2. Gavroche Bohdan A. Korzh - the sculptor who carved himself / O. Gavroche // Artania. - 2014 - Bk. 34-35. - № 1-2. - P. 136-142. : Ill. 3. Korzh B. select [Visual material]: [album] / B. Korzh, L. Radko. - Uzhgorod: Uzhgorod. City printing., 2007. - 74 p. : Ill. - Text Ukr. and Eng. languages. 4. Korzh B. [Visual material]: sculptures. portrait, medal art, a sculpture of small forms, Landscape and monument. sculpture: [album] / B. Korzh.- Uzhgorod: Izdatel’stvo A. Garkusha, 2013. - 32 p. : Ill. 5. Rodchenko R. A. Korzh B. [album] / comp. and author. introduction. Art. A. Lavrentiev / AM Rodchenko, Stepanova VF - Moscow: Book, 1989. - 160 p. 6. manuscript. - From your records B. cakes. 7. Sapieha IG Hans Erna: [album] / IG Sapieha. - Moscow: Arts, 1970. - 104 p. : Ill. 8. Starodubova VV Bourdelle: [album] / V. Starodubova. - Moscow: Arts, 1970. - 176 p. : Ill. 9. Timm W. Edvard Munch: Graphik / W. Timm. - Berlin, 1979. - 314 s. - Ill.

Summary Analyzed previously unknown graphics of Transcarpathian sculptor Bohdan Korzh, covered topics formation and graphic style of the artist against the backdrop of the general trends in art, in particular the examples of graphic heritage leading sculptors of the twentieth century. We study the relationship of sculpture and graphics in the work of the artist and the impact on individual author’s hand, focuses on the diversity of artistic quest B. cakes. Keywords: drawing, sculpture, creativity, impact, characteristics.

Summary Korzh-Radko L. Unknown world of graphic images of Transcarpathian sculptor Bogdan Korzh Analyzed previously unknown graphics of Transcarpathian sculptor Bohdan Korzh created in 80-90- twentieth century, the formation of topics covered and graphic style of the artist against the backdrop of the general trends in art, in particular the examples of graphic heritage leading sculptors of the twentieth century. We study the relationship of sculpture and graphics in the work of the artist and the impact on individual author’s hand, focuses on the diversity of artistic quest B. cakes. This article analyzes the page biography author traced the influence of environment and education of children to further creative activity; considered the artist’s creative contacts with local artists and show their own creative search path. The attention to the impact on the outlook of the artist of Western literary classics. Analyzed sculptural achievements of the master and changes in the forms of artistic expression. Over the years, creating graphical series B. Korzh, stresses the author has developed its own inherent only to him, graphical language that is known immediately and without any doubt, characterizes its unconditional belonging to the sculptor’s hand – is read at first glance to dynamic, clearly modeled, peremptory letters. Realized simple means, ballpoint pen, ink – the images of encrypted characters to read thoughts the author gives tips in some studies it arrows, crosses, dotted, barbed wire, numbers, codes, and so on. This figurative reception «Aesop language» caused not only bahatoliniynistyu perepletin scene, but the then party and repressive society. When returning after training in Transcarpathia Korzh was attached to the label «anti-Soviet abstractionist», at least so it vidrekomenduvaly «artists» of the range. At first glance, graphic compositions perceived as decorative and abstract plane, but when trying to read a deeper penetration codes – open buremnist spirit, internal protest, youthful glow. Clearly modeled images demonstrate formed personality and a stable stance author. They like engraved in the metal, its tense lines and ensure clear dynamic strokes reminiscent of mint technique that Boris Korzh studied during the practical classes in the school. No doubt, halftones and nuances, it most clearly, vividly, with promising grooves – almost physical sensation of volume, bump image. These graphic compositions are an integral part of the Carpathian sculptor and creativity will certainly have to take its place in future expositions and Ukrainian contemporary art. Key words: drawing, sculpture, creativity, impact, characteristics, Transcarpathian artists, creativity, modern Ukraine, topics, style graphic forms, dynamic expression, expressive search, portrait genre, artists, authors writing and cultural heritage.

Annotation Korzh-Radko DO. Unknown world of graphic images Transcarpathian sculptor Bohdan Korzh Analyzes previously unknown graphic works Transcarpathian sculptor Bohdan Korzh, the formation of topics covered and graphic style of the artist on the background of the general trends in art. We study the relationship between sculpture and graphics in the work of the author and the impact on individual creative style, focuses on the versatility of the artistic quest B. Korzh. Keywords: drawing, sculpture, creativity, influence, characteristics. Nadіyshla to redaktsії 10/31/2014 p.

UDC 7.036: 12: 25 O.O. Yakimova VPLIV SVІTOGLYADNIH ANTHROPOCENTRIC KONTSEPTSІY TO ROZVITOK MONUMENTAL PAINTING (AT PRIKLADІ STІNOPISІV TA VІTRAZHNIH ZASKLEN SKHІDNOЇ GALICIA PERSHOЇ TRETINI TWENTIETH CENTURY.) Monumentalnі ozdobi sporud, Realized from rіznih tehnіkah, spokonvіku vikoristovuvalis for okreslennya panuyuchih іdeologіchno-derzhavnitskih that sotsіokulturnih i relіgіynih kontseptsіy Svoge hour. Mayuchi on metі vіdobraziti viznachalnі Ambush formuvannya іndivіda one zagalom, іsnuvannya Lyudin Pevnyi іstorichnogo perіodu, її of Hope, she spodіvannya zavdannya, tsі kontseptsії Mali Buti spіvzvuchnі s zhittєvoyu fіlosofієyu Doby have yakіy stvoryuvalis. Burhlivіst th Pevnyi rozgublenіst, rіznomanіttya have Poshuk vlasnoї ekzistentsії, vіdpovіdno anthropocentric spryamovanіst have svіtoglyadі novoї Dobie modernіzmu spriyali rozvitku have monumental mistetstvі іdeї onovlenoї Lyudin: Person of, scho i ruined vіdshukuє currently have strіmkomu postupі svitu dovkola; Person of, scho namagaєtsya usvіdomiti currently have novih realіyah hour. Doslіdzhuyuchi factors scho vplivali on formuvannya Obrazotvorche kontseptsіy The images Lyudin naprikіntsі XIX - XX century pershіy tretinі., Can viokremiti Ti, scho dіyali on bezposeredno processes. Podіlimo їh on derzhavnі (in Nashomu vipadku s looking around at regіonalnіst that Pevnyi provіntsіynіst) that natsіonalno-kulturnі. Takozh Je Obviously, scho th tendentsії Poshuk have sotsіokulturnomu seredovischі Vіdnya, Krakow is the great mіst іnshih could oposeredkovano zіnіtsіyuvati іsnuyuchі vplivati she appeared on novih anthropomorphic fіgurativnih obrazіv, typical for the aforesaid viklyuchno Etap іstorії Shіdnoї Galicia. Same nakladayuchis that vzaєmodopovnyuyuchi odnin one bezposerednі that oposeredkovanі chinniki stvoryuvali pіdґruntya for the creation novih obrazіv that do updates osuchasnennya-Old scho spriyalo modernіzatsії have rozumіnnі Lyudin have mistetstvі, zokrema boundary publіchnomu - monumental. In 1900 there have been significant changes in government and education Austro-Hungarian monarchy. Liberal political culture and artistic and creative values that was in the final stage of the national historical and Austro-Hungarian Empire, Karl E. Shorske analyzes in the book «Viennese fin-de-siecle. Politics and Culture «[11]. In particular, an important driver of change he finds a replacement in 1900 the Ministry of Public Affairs at the Ministry of Civil Service. Formation of the competent Ministry was instructed and enlightened officials, Dr. Ernest von Koerber (1850-1919 gg.). Choosing a long-term strategy of which had to weaken the political tensions, he launches a campaign to modernize the two most important, in his view, the state apparatus functioning areas: culture and the economy. Kerber believed that in the area of the two branches of all nationalities scrappy Austro-Hungarian Empire will be able to find a common, unifying interest (although, as time has shown, it was only the catalyst for a new wave of nationalist speeches). Ministry of Culture headed by Wilhelm von Hartel, a renowned expert on ancient philology and at the same time quite sensible administrator of conflict, given the national question, educational field [11; 211-212]. Two socio-economic factors have had a significant influence on the formation of contemporary image of both the capital and the province: the emergence of new industrial and technological capabilities, under construction new times secular buildings. The increase in self-identification of ethnic and religious communities, caused the active construction and updating of national decorations religious objects. On the territory of Galicia and Volodymyriya, which continued the process natsiousvidomlennya own modern Ukrainian and Polish, has developed quite controversial socio-political situation. First, it is manifested in constant confrontation between Ukrainian Poles and the culture in the struggle for primacy in the region. These circumstances forced the Austrian government to seek supranational liberal and progressive approaches to issues of culture and education that these territories were particularly acute. By the early twentieth century. There was almost no zoning quarterly towns and villages by ethnicity, social background was confirmed zoning. The objects of ethno-national marks were old and newly built riznokonfesiyni temples. These buildings are inscribed in multicultural urban context, first had to create a complete image of the unity of the city, its internal harmonization. It imposes limits and simultaneously created a framework for greater competition and improving methods of artistic creation of interior and exterior painting decorations. The works of sculpture were less tied to the national question than monuments and symbols created industrial development and growth of contemporary cities harmonize its external image. In such circumstances, neutral decoration of public buildings and stone buildings gradually beginning in its space solutions and decoration dial features inherent in a particular national group. Such changes shaping the secular public buildings not manifested everywhere, and depending on the purpose of the building. The search for national performing artists, mostly experimenting with the planning structure of objects and ornamental decoration of small houses. It turned into three-dimensional solution structures, including Ukrainian public buildings. Among the buildings public buildings more manifestations of national identity Ukrainian artists could afford when creating the interiors of public buildings. For example, murals M. Sosenko the Music Institute. Lysenko in Lviv. Polish artists and customers, trying to keep up with Vienna as capital and role model, sought to reflect in the decoration of buildings anthropocentric national trends. According continue to adorn the facades of buildings ancient mythological characters, although there are figurative allegorical images and symbols professions are based on searches modernist artists [1]. With a significant advantage in government, the Poles were able to have declared its dominant role in Galicia also by establishing monuments to famous figures of Polish history and culture. At the end of the nineteenth century. in the largest cities of Galicia, in connection with the approaching 100th anniversary of A. Mickiewicz, appear mostly figurative monument dedicated to the poet. Lviv option monument can call culminating work of the reason that most researchers believe it is the best of those that appeared in Poland. By establishing the monuments of statesmen and famous cultural heroes, Poles (Ukrainian almost got permits for the construction of monuments to the heroes of their own) so markuvaly public space of cities and towns, including the city, which in Galicia was a model for follow. After the First World War, when Polish statehood was restored, the process is manifested even brighter. In Vienna in the early twentieth century. clearly there are numerous artistic direction called secession, whose members were considered true cosmopolitan spirit. It is best suited to perform the tasks E. Kerber. Austrian culture, the protection of which they were, as declared the kind of art that the alloy together all the many features of the peoples inhabiting Austria-Hungary, a new grand unity, the so-called «Kunstvolk» (artistic people). The Austrian government hoped to overcome national contradictions is through art. Realizing that any development that takes place on the national soil, Wilhelm von Hartel noted that all works of art speak a common language, and «nobly competing with each other, leading to mutual understanding and mutual respect.» At the state level Austria, unlike most contemporary European countries contributed to the art of that time. The government did not restrict and encouraged artists to develop under the laws of equality artistic trends and opportunities for progress [11; 212]. On paper these statements sounded very progressive, even liberal Austrian society is not fully ready to accept was the vector in which developing innovative contemporary art. In the 1900-1902 biennium. G. Klimt presented to the audience the song «Philosophy», «Medicine» and «Law», designed by him to the University of Vienna. These works outrage the public and most of the power. Secession in Vienna’s version of how the trend of contemporary art, had to apply less radical artistic solution. But modernism gradually secured their positions, gaining a place in eclectic historical style, though they are in the first half of the twentieth century., Sometimes combined with modernist lines were still quite popular. The theoretical basis of image that time had two components: artistic aesthetic and philosophical and literary. The basis of artistic and aesthetic principles become part of modernism. This trend in its broadest sense combines style and sometimes conflicting currents. Researchers define its boundaries from the realism of Gustave Courbet, through Impressionism, Symbolism, Art Nouveau, etc., to the emergence of postmodernism in the 1960s. The representatives of different currents of modernism made another attempt to build a universal picture of the world through the creation of a new reality common forms of artistic perception. Accordingly, the main object of study in the art of man is psychological, it being the light of the characteristics, talents and weaknesses, hopes and defeats more. This led to the search for conceptual foundations of the philosophy of Nietzsche, Freud, letters, reflections of contemporary theologians in literary works, for finding philosophical and literary background of the creative process [4; 1].1 The dominant artistic movements of the early twentieth century. historicism and secession are based on the principles of symbolism. In religious art artistic images often come from mysticism. The philosophical basis for forming «philosophy of life» Nietzsche produced under the influence «Theory of Will» of Schopenhauer. Direct feedback of philosophical concepts found in the plots and motifs of art nouveau, secession, including the monumental art. Man as a creature that emerged from nature, is subject to its formation, because the dual nature of the individual. However Nietzsche classify a person as an individual - individual human being. Modern man to him, in his opinion, so zakripachyla itself numerous ideas and prejudices prevailing in morals and is as routine and uninteresting as science and art vyholodzhene. It introduces the concept of «herd culture» culture of mass consumption, which fully meets neprymhlyvoho user who humbly subjected to total its influence. It leads to the loss of their individual uniqueness, to mediation and leveling. Infringement of culture «Turned on almost all the people abstraktis and shadow; Nobody dares to show their personality, but everyone wears a mask or educated person or scholar or poet, or politician. « All this only «Human.» Therefore, Nietzsche introduces the concept of «superman». It is typical of attraction to power. But the rule of the mighty power and Superman is not understood as a legal or political advantage ... that preaches rule of individualist as a spiritual influence; power, power over people received outstanding spiritual qualities. These thoughts led artists to seek individual and unique characteristics that have singled out a figure from the general crowd. [8] Even the artist that already perceives itself in a new way, trying to reflect on its own, individual positions of his time and culture. Most influenced the development of the creative individual artists their immediate environment. At the Austro-Hungarian Empire was both opposition supporters and attraction to academic advocates a modernistic style of opinion and Shnittslera Hofmannstalya. Both statesmen through literary and philosophical works expressing their political a position that was according to the liberal attitude of the Austrian government late XIX - early XX century. [11]. Artist of that time occasionally he becomes a philosopher who a way «Almost crazy» experiments trying vytvoryty such a new artistic language, which would be able to show the state of contemporary man who lived in the time of constant social and political change and turmoil. Modern style was generally urban. Viennese architect and one of the main theorists of secession, Otto Wagner determined vartisnist architectural project according to whether the author was able to rise above the monotony of monumentality. Overall it was a monumental one of the characteristics and values of liberal Austrian town planners. Given the fact that one of the basic principles of secession was a comprehensive synthesis - the interaction of the Arts, which was based on the dominant role of architecture, monumental determinant designed to paintings and sculptural decoration works, including figurative [1]. In the interwar period in secular art tangible gravity for maximum functionality and structuring, provoking the emergence of trends Deco and functionalism in urban planning. These currents are fed interwar decades, the philosophy of existentialism, its specific dekadanskoyu nastroyevistyu. However, that time man studied in art through her psychological state by developments of Freud and Carl Jung. The capital Vienna, Warsaw later art processes and trends came to the territory of Eastern Galicia, in accordance with its remoteness and provincialism, usually with considerable delays and substantial modification. And if art is more intimate, easel, described the idea reflected, the monumental art did not make it to the Second World War to comprehend and process them deeply enough. In monumental sculpture and painting gradually added visual elements that seemingly could only be used in search and conceptual works. Some artists in the evolution of the art of writing is traced attraction to simplification, generalization of forms to provide more expressive works. We can argue that contemporary monumental art in Eastern Galicia was looking for ways to implement the new times trend. But some provincial land, according customers and recipients, yet forced artists to balance on the edge of the traditional and modernistic. Temple art, while remaining largely based on tradition, at the same time trying to combine the trend of time, its mood and religious canon. His influence has religious art and politics, so monumental beauties temples appear scenes involving national heroes, significantly increasing the number of images of local saints. While in Austria nationalist group in the art of developing a separate national art, art nouveau went the opposite way. This caused significant difficulties for most artists of Galicia who, wishing to contribute to the development of nations, which include, sought ways of expression in the context of current national trends. Advanced contributed to the rapid development and progress of competition among artists during the implementation of projects of state orders and industrial character. In this case a prominent place among the artistic currents of the early twentieth century. secession holds more concise and current art deco and functionalism of the interwar period (many art researcher first third of the twentieth century. in Eastern Galicia Dr. Yu Biryulov highlights the art of the interwar period as so-called «rational secession» [1, 91 ]). In the interwar period, increasing national competition. Poles mostly try to stay within the pan-European philosophical trends and, accordingly, artistic trends. But Ukrainian, at the time when a national situation hardly on the verge of conflict, cultural areas, remain the only opportunity to witness national identity in contemporary society. An example of this can serve as an unfortunate incident that occurred during the execution of Yu Butsmanyukom paintings church oo. Basilian in. Zhovkva (Lviv region.). Controversial subjects’ Union of Brest «and» Protection «caused confusion with the official authorities. Polish newspapers accused the artist that he «magnifies» Ukrainian nationalists, including J. Malinowski (during one of the clashes with the police he killed politsianta state), «kanonizuye OUN militants.» This artist slander so confused that he made open letter to the Ukrainian press. Yu Butsmanyuka repeatedly summoned for questioning [2; 7]. Rising consciousness manifested deep interest in the history and culture, the desire to create Ukrainian nature and essence of art. Against this background, the complex historical and political circumstances led to the emergence of appropriate scale thinking creative individuals. Reflecting on the inspiration of image Ukrainian Galician artists of the first third of the twentieth century., It is worth mentioning also the influence of the artistic community, including literary society «Young Muse» and Lepkoho. For many young artists who studied at the Krakow Academy Arts, he became a traitor and engine forming their future work. His literary works, many of which are related to the figure of the artist and painting (which he wanted to be) disclosed ethnopsychological features Ukrainian artist type. Inherent features is its aestheticism, lyricism and sentimentalism, which became the basis of contemporary image making that, in particular, was the «Awakening deprived of historical memory Ukrainian statehood» [6, 51]. Public life and vitality of Ukrainian culture of the first third of the twentieth century. was associated with significant difficulties. National Church remained steadfast fortress Ukrainian spirit, due to the significance of the figure of Metropolitan A. Sheptytsky in Galician society. In the Ukrainian environment Bishop Andrew was undoubtedly one of the apologists of creating public opinion on the appointment of the man and his existence. Self-awareness Galicians formed on the basis of sermons and reflections Metropolitan A. Sheptytsky. Particularly accentuated in the interwar period, the impact Metropolitan is decisive since 1900, when he leaves Slanislavivsku department and elected to the Metropolitan See. With deep knowledge of art, including art history, critically assessing current trends in 1913 in a speech at the opening of the National Museum of Metropolitan said: «The progress of the national culture lasting only when it is the expression of people’s souls, the people flourish dense cultural forces. In his work over the smooth progress of the danger lies in underestimating, and peretsinyuvannyu national signs «[10; 1]. Argued proving the strength and power of the Byzantine civilization Metropolitan outlined her through western union with the Greek Catholic Union as a driving source of contemporary Ukrainian culture. Partly speaking source that fed her, Metropolitan Andrey reflecting on the question «What is culture?» Noted that «the foundation of every culture must be here following principles: respect human life, human freedom, human labor; science, art and many such. « Singling out individual national component metropolitan same time proves that its features is a valuable culture and the «global» context. In the interwar period in the development of Ukrainian culture-thought becomes important impact Svyatoduhivskoyi rector of the seminary in the city. Lviv J. Blind and abbot of the Studite monastery in Univ K. Sheptytsky (which was supervised study icon painting school oo. Studite). Processes that took place in Ukrainian Galician society definite period, due to the perceived rise of national spirit and consciousness to as rebirth and renewal. Equally important is the strength of mind, but modern man is afraid of loneliness (loneliness, solitude) and this makes it open the opportunities that concealment in solitude. First, it’s extraordinary creative power, capacity and esteem. Above these aspects of human existence reflects in view of the religious doctrine of Patriarch Joseph blind in his pamphlet «By the renewal». Summarizing the theologian said that «man is a social being and must not flee to the company, but on the other hand it has a duty to protect and nurture their individuality. Therefore obi parties uyedynennya and should go parallel coexistence in harmony and do not outweigh itself, so that it does not become either wild or superficial. Only then are the concepts of privacy doors of heaven - solitudo ianua coeli »The above quote, might call the quintessential human understanding of the first third of the twentieth century. As for the religious images of monumental art by artists consider it legitimate to give thought painter M. Osinchuk, who at the time of creation, led the icon-painting school at the monastery of Studite. In his artist training program takes some important characteristics needed to create icons. The artist, who takes on the image writing has not explore before surface, and main, structural properties of ancient iconography, its linear and planar patterns that determine the rhythm and style of images of previous eras. Taking the necessary fundamental may then resort to modernize, provide individual stylistic characteristics [5; 7] The rapid development of construction technologies, an ambitious aspirations of power and publicness Eastern Galicia, which followed trends scale complex projects in Vienna, Berlin, Paris and other major European cities had led and updating quite a large number of public buildings edge. Under the influence of the above named factors, the importance of human research, including its psychological states, new times finishes, including painted figurative compositions become more allegorical and symbolic meanings. In the synthesis of architecture and sculpture, reflecting the purpose of the building, they enable to create a specific atmosphere of the individual building, showing some of the characteristics of the time. After analyzing the general multilevel and polinatsionalnogo situation in Eastern Galicia as a province of the Austro-Hungarian monarchy (where ideas and processes reached with some delay and modyfikuyuchys accordance context edge), later Rzeczpospolita II in the first third of the twentieth century., Identifies features inherent its monumental art. One of the main characteristics is atropotsentryzm and search for new opportunities and the person Studies of the nature, character and motivations. Lyudynospryamovanist despite all the canons and limit future customers and recipients of decorations art generates art direction to a modernist individualism, expressing their own attempts philosophical and conceptual awareness created through images. Cosmopolitanism and supranational policies specific to Vienna (which habit visited almost to the Second World War), in provinces with a strong «National question» transformed into capital generalization opposite desire self-determination of ethnic groups, stand out. They try to give the depicted figures and stories features inherent in their ethnic group, the same color that would be well recognized in the public space. What a nation was closer to the edge of the board, the more it approached trends to artistic processes in order to somewhat neutralize its own national characteristics. It is also important to note that interest in the person of its artistic and aesthetic reflection traced along the entire history of art, but every era has its own ideals and her only characteristic inherent characters, images, or their modifications. Depending on the philosophical doctrines and policies of the ruling elites of certain land and corresponding historical period varies vector search and research fine features and shaping human character.

References 1. Yu Biryulov Lviv Art Nouveau / Yu Biryulov. - L. Centre Europe, 2005. - 184 p .: il. 2. Yu Butsmanyuk review for attack oo. Basilian painters and their church / Yu Butsmanyuk // Delhi, CH.20 (14.852). - L., 1938. 3. Yu Butsmanyuk murals Zhovkva Church of Christ Lover / Yu Butsmanyuk [emphasis. 4. Gakh, O. Sidor]. - L., Missionary, 2006. - 152 p. 5. Vlasov VG style in art. Dictionaries (architecture, Graphics, arts Applied arts, painting, sculpture) / VG Vlasov. - SPb. : Cast, 1998. - 247 c. 6. Vuytsyk B. Selected Works / V. Vuytsyk // Bulletin Ukrzakhidproektrestavratsiya. - L., 2004. - Vol. 14 - 328 p. 6. Y. Havdyba Literary Discourse Painter creativity Bohdan Lepky / N. Havdyba. - K.: Torch, 2012. - 228 p. 7. ideas, meanings, interpretations of fine art Ukrainian theoretical thought of the twentieth century: [anthology / originator RM Yatsiv]. - LA: LNAM: Institute of National Academy of Sciences of Ukraine, 2012. - Part 1. - 231 p .: il. 8. Friedrich Nietzsche’s Thus Spake Zarathustra / Nietzsche. - K., 2006. - 464 p. 9. By J. renewal Blind / Blind Joseph. - L., 1928. - 106, [1] p. 10. Sheptytsky A. History and problems of our pieces / A. Sheptytsky // Delhi. - tsdiaul. - Byblos. inv. № 49. - Part 279 - L., 1913. 11. Shorske KE Viennese fin-de-siecle: politics and culture / Charles E. Shorske; [Lane. from English. A. Kotsyumbas]. - LA: Classics, 2003. - 320 p., [16] p. il.

Summary Factors that influenced the process of image monumental art in Eastern Galicia the first third of the twentieth century. as part of the Austro-Hungarian Empire. Particular attention is paid to socio-political, national, religious and philosophical aspects; their human centric focus, finding the essence of man. Keywords: anthropocentrism, Eastern Galicia, monumental painting, IMAGE, influence.

Summary Yakymova O. Influence of world view anthropocentric conceptions on development of the monumental painting (on the example of stained-glass window East Galychina of first third of ХХ of century) The monumental decoration works, made in different techniques, used for centuries to define the dominant ideological state- building and socio-cultural and religious concepts of his time. With a view to display the defining principles of forming the individual and, in general, human existence certain historical period, its hopes, aspirations and objectives, these concepts have to be in tune with the life philosophy of the day, which were created. Some turbulence and confusion, diversity in search of their own existence, according anthropocentric worldview orientation in a new era of modernism promoted the development of monumental art ideas renewed man: a man who lost and finds himself in rapid progress around the world; the person who is trying to understand themselves in the new realities of the time. Factors affecting the process of image in Eastern Galicia monumental art of the first third of the twentieth century as part of the Austro-Hungarian Empire. Particular attention is paid to socio-political, national, religious and philosophical aspects; their human centric focus, finding the essence of man. Deals with the specifics of construction and decoration in western Ukraine related to the dominance of the Polish element in government bodies and in art. After analyzing the general multilevel and polinatsionalnogo situation in Eastern Galicia as a province of the Austro-Hungarian monarchy (where ideas and processes reached with some delay and modyfikuyuchys accordance context edge), later Rzeczpospolita II in the first third of the twentieth century., The author of the article, a separate group traits characteristic of monumental art. One of the main characteristics is atropotsentryzm and search for new opportunities of the individual research and its nature, character and motivations. Lyudynospryamovanist despite all the canons and limit future customers and recipients of decorations art generates art direction to a modernist individualism, expressing their own attempts philosophical and conceptual awareness created through images. Cosmopolitanism and supranational policies specific to Vienna (which habit visited almost to the Second World War), in provinces with a strong «national question» transformed into capital generalization opposite desire self-determination of ethnic groups, stand out. They try to give the depicted figures and stories features inherent in their ethnic group, the same color that would be well recognized in the public space. What a nation was closer to the edge of the board, the more it approached trends to artistic processes in order to somewhat neutralize its own national characteristics. It is also important to note that interest in the person of its artistic and aesthetic reflection traced along the entire history of art, but every era has its own ideals and her only characteristic inherent characters, images, or their modifications. Depending on the philosophical doctrines and policies of the ruling elites of certain land and corresponding historical period varies vector search and research fine features and shaping human character, emphasizes the author. Key words: anthropocentrism, Eastern Galicia, monumental painting, IMAGE, influence, ideological principles, empire era philosophy, socio-economics, intercultural contacts, art trends, ideological concepts stynopys.

Annotation Yakimova E.A. Influence of anthropocentric outlook and concepts for the development of monumental painting (for example, paintings and stained glass of Eastern Galicia the first third of the twentieth century) The factors influencing the process of creating images in the monumental art of Eastern Galicia the first third of the twentieth century as part of the Austro-Hungarian Empire. Particular attention is paid to the socio-political, national, religious and philosophical aspects; their focus on the study of man and his essence. Keywords: anthropocentrism, Eastern Galicia, monumental painting, imagery, influences. Nadіyshla to redaktsії 11/29/2014 p.

UDC 745/749 N.І. OLІYNIK REPREZENTATSІYA TRADITSІYNIH BEGINNING, TVORCHOSTІ MAISTROV DECORATIVE MISTETSTVO M. FLIES

Aktualnіst ones. Narodne Mistetstvo vіdіgraє velicheznu role at zhittі for Civil Society, the spiritual rozvitku natsії. Narodne Mistetstvo - tse i very nature, Yogo іstorichna pam’yat, i have chasі neperervny phone reception. Vono Got visokomoralnі basis visokі estetichnі norms scho not vtrachayut svoєї vagomostі i zalishayutsya dієvimi chinnikami rozvitku pokolіn the following crops. Cutaneous people pragne vіyti in svіtovu tsivіlіzatsіyu Zi svoїm natsіonalnim cultural Nagybanya. One of these people is Ukrainian heritage wall paintings belonging to the latest time of occurrence kinds of folk art. Under the influence of social and historical conditions mural painting as an art form began to lose its importance and be replaced by other types of display creative imagination, revived in new forms and qualities, primarily drawing on paper, the so-called «Malovkah» which later was given the development of easel works of folk artists. A good representative of this type of art is a master of folk art Ukraine Makar Korneevich Mucha, who successfully worked in the mid-twentieth century. in Cherkasy. The theme is relevant because the work of this talented artist has not been the subject of special scientific research in contemporary art criticism and it is not highlighted. Analysis of recent research and publications. Among art history and cultural studies should mention Article VI swan, which became one of the first works devoted to the works of the original artist [5]. Of particular note is the publication in the press - «Cherkassy Region» [2], in which the author draws attention to the works of Mucha, filled with love for Ukraine, its past, its people. Introduces the works of masters of decorative painting exhibition catalog M. Mucha [7] and the catalog of the exhibition dedicated to the 100th anniversary of the birth of Honored Master of Folk Art of Ukraine [4]. They have the opportunity to see how under the influence of inexhaustible beauty of mother nature, the artist created his paintings, which manifest favorite themes and motifs vizerunkiv- ornaments, motives consonant Ukrainian folk art of the region. The purpose of the study is to review the works of the honored master of folk art, disclosing specific features of his works of art, representation of traditional principles in his works. The main material research. Ukrainian art is genetically specific to a particular ethnic community and centuries passed practical testing. It reproduces in full view of the world and not a separate part of the world people. It is thanks to the Ukrainian art synkretychnosti promotes an integrated system of human artistic and aesthetic views, tastes and beliefs. As a form of existence of the national outlook, Ukrainian decorative painting stands shaped model of human activity, the expression of a holistic understanding of the world and the world of national awareness; artistic and philosophical reflection of harmony and primordial life, of reality, the embodiment of human and national values, moral and aesthetic standards. Decorative and applied art never loses its relevance, it is full of tradition, manifested: the system image, composite plots, motifs, styles, kolorystytsi images. Folk art is always joyful, optimistic. It says the love of life, vital resistance of the people. Features of national character due to the surrounding nature, life structure, history, emotional, psychological warehouse people always define the spiritual meaning and original character created by the hands of the people subjects. Their spiritual fullness and power of expression is causing interest in all forms of folk art [8, 6]. It is this characteristic most responsible Makar Korneevich creativity, artistic talent which, many-sided: from drawings - to embroidered shirts and carpets, but, above all, he is a master of decorative painting. The diary M. Mucha is a note: «I will have my way. I thrust the colors of each piece of their land, their uniqueness and originality. I will be happy with their work, happy to bring it to people modicum of joy and pleasure «[6; 51]. M. Mucha paintings - bright, cheerful patterns of forest, garden, field, indoor plants. In floral wreath master successfully enters roosters, peacocks and other birds [3; 111]. Fiction affect his finesse and subtle lyricism. Coloring his works, especially those that are written in 30-60 years of the twentieth century. Characteristic emotional sound clean and soft colors. Most of the early work done on a white background, which is typical for the common folk traditional style mural painting Dnieper. A favorite motif of the author, in this period - harness a variety of colors, patterns woven single («Decorative panel» MUNDM, 1930, «decorative motif» MUNDM, 1938) [2, 3]. In 50-60 years the artist creates paintings bright, colorful, life-affirming. The core, these works, the central axis of the world appears Tree of Life, formed symmetrically and asymmetrically located with fantastic colors («Decorative panel» Dr.-4011, 1950, «Decorative panel» Dr.-4012, 1950, Decorative panel «Bouquet» Dr.-4034, 1955 «Decorative panel with the bird» Dr.-4064, 1963). This motif painting author takes as an independent composition, in which pairs of placing flowers in the central compositional element symbolizes unity zhyttyestvoryuyuchyh two factors: male and female. Often the motive painting master image is the «tree of life», «pot», which is part of the infinite ornament - «Ribbon» («decorative motif» al-4021, 1953). This pattern - one in common folk art. Researchers have different areas of this type of creativity unscrambled symbolic images. According to them, «Tree of Life» (fore tree, World Tree, tree genus et al.) Is a symbol of continued recovery nature of gender and, in general, symbolizes the universe. That master in his writings widely used symbols of elements that reproduce people’s knowledge and understanding of the life-giving forces of nature. Speaking of plastic lines, is a characteristic of this view is a picture of 1960 «Harvest.» If the first post-war artist ornaments reminiscent direct sketches of flowers, it is the job characterizes complex rhythmic and plastic construction dominated arc, arched, oval, spiral dynamic lines [5, 78]. The picture is made in warm colors, the basis - rhythmic flower - tree of life, bearing significant semantic load. Interestingly combines master-fitomorfni zoomorphic images in his works. Yes, decorative panels «Deer and Flowers» (al- 4047, 1961) on a black background that enhances the vivid colors shown deer are symmetrically surrounded by fabulous flowers and berries. Other work of a similar theme - «deer» (KDIKZ, 1974), created with bright colors, made, like most of the early work on a white background. These pictures are written simply, naturally and are quite shaped. Aesthetics works is subtly feel Makar Korneevich wise laws of nature, the unity of flora and fauna, it harmony. Looking at decorative painting 70-80 years, it is clear that the motive favorite wizard in the period are wonder-birds, whose images are intermediaries between the three mythological worlds. This is mainly Firebird, or freakish peacock that their author is often depicted on a black background with bright saturated colors. It builds around them M. fly its composition, often scene. Charming decorative birds organically woven into the fabric of decorative painting, forming a unit. Often, the artist depicts one («Firebird» OM-240, 1970, «The Firebird in colors» OM-473, 1983, «The Firebird» DP-414, 1979, «The Firebird with a branch of rowan» OM- 485, 1983) or two birds («Lovers» DP-408, 1979, «The Firebird wedding ring with» OM-471, 1983, «Courtship» OM-475, 1983). In his work «The Family» (DP-345, 1977) is also performed on a black background, to emphasize the elegant decoration, bright flowers are organically intertwined with three birds with bright plumage. Interesting and important part of creativity of national artist make paintings in which he recreated images of historical figures. The leading role in his work takes Shevchenko topic: «Poplar», «Mrs.», «Lily», «150 years of the birth of Taras Shevchenko» [2, 3]. The love of the poet germinate in the heart of the artist in childhood, for it is by Shevchenko’s Kobzar learned to read. «Uchitesya, my brethren, think, read ...» (CHHM, 1988) «Where are the iron pillars ...» (CHHM, 1988), «Come daughter, find destiny ...» (CHHM, 1988). For works of M. Mucha inherent mainly floral ornament. However, he composes with great skill there different animals, birds, somewhat stylizuyuchy their shape. Subjects reality master of decorative painting on paper does not tolerate naturalistic and creatively reinterprets them in order to emphasize the characteristics of a particular image, sometimes exaggerating them. All images, even the most complex compositions, the artist performs, usually without preliminary sketches outline pencil. Color harmony forms mainly from a limited number of colors. In Makar Korneevich have their favorite colors, it is with their help, he creates a range of subtle image. Details of flowers, stylized images of animals, birds, outlines the artist imposes watercolors own making. They perepalenoyi he produces with clay, honey, egg yolk. It was with their help, he creates a range of subtle pattern, seeking to paintings made on paper, not faded, kept fresh for years. His favorite color is yellow Makar Korneevich extracts of sunflower petals, chamomile blossom, seeds of white and yellow acacia. Blue - with cornflowers; dark blue - berries elder usual; pale purple - with herbs oregano. The bark of alder onionskin gives red color. Letter bitterling and walnut, cherry bark and berries rose hips, thyme and straw Buckwheat - those plants which harbor colorful works of Makar fly [5; 78]. Many years spent in Kamenetz master. Motives native land passed through all his work. Each work affects the variety of flowers, inexhaustible imagination, attracted by flawless composition. The artist illustrated the works of Taras Shevchenko, I.Nechuy- Levitsky, Pushkin, Tchaikovsky [4]. The most famous of his works - «The Firebird with a red tail,» «The Firebird,» «Peonies», «Peacock and Butterflies,» «Irises» [7; 4]. Many works are devoted to Shevchenko mentioned topic. M. Mucha executed illustrations to the poem «Mrs.», «Dream» mural «Lily flower and Queen» [3; 111], «Lily» «Poplar», «Uchitesya, my brethren, think, read,» «splashing over ducklings wasp» and others. To exhibition of the artist’s works, held in the summer of 1974 in Kano, exhibited work «Kobzar» «Catherine», «On barshchina wheat sting.» An important role in the work of M. Mucha sit-baths paper decorations. The compositional center of each of the seven vytynanok presented at the regional exhibition in. Cherkasy in 1972, is the image of the sun. Center bright red sun, the rays of light, arrows, longitudinal slots, sequins or artist imposes offset color on color to contrast light and dark, so luminous rays give a good visual impression. All pictures are constructed so that kvitky- around a central sun rotates as if the whole composition with lots of smaller flowers stars. Artist-ornamentalist builds a kind of model of the universe [5; 71]. To create a romantic mood he stars alongside kvitamy- Always wonderful colors not found in nature. Image Geometric Flower - is mostly circles, triangles, diamonds borrowed from weaving, where we find the center of each intersection as a symbol of fire. A fire, according to mythology, was considered the son of the sun. As you can see, the unity of the ornament is not broken. The theme of the unity of all life from the cosmos Makar Korneevich develops further. The public honored artist, his devoted work. In 1961 the artist’s name was entered in the Golden Book of Honor region, and in September 1967 Presidium of the Supreme Soviet of the Ukrainian SSR was awarded the title of Honored Master of Folk Art of the USSR. His work is the distinction diplomas and gratitude to the Organizing Committee, All-Union, republican and regional exhibitions, to which he was. In 1970 Makar Korneevich awarded the Lenin Jubilee Medal, and in 1971 - the Order «Badge of Honor» [5; 79]. More than 5,000 works created this indefatigable master. Preferably worked in the genre easel decorative painting, although he has and embroidery, paper decorations and: wood. His work in the style of Ukrainian ornament exhibited in Kiev, Moscow, galleries France, Czech Republic and Slovakia, Bulgaria, Poland and Canada. They adorn the collections of many local museums. [4] 40 works created from more than 5,000 M. fly, are owned Kamensky state historical and cultural reserve and presented in his exhibition gallery. Works of flies kept in the museum of Zaporizhzhya, Dnipropetrovsk, Kyiv, Lviv, Saint Petersburg, Pereyaslav-Khmelnytsky Kaneva. His schedule was exhibited at international exhibitions in Poland, USA, Bulgaria, France and Canada. It should be noted also typical works of the artist. It consists in the ability to combine both the People’s traditional motifs with modern and skills in a normal, everyday discover the most beautiful, the most characteristic. Decorative painting folk artists created an inexhaustible treasury of ornamental figures, extremely diverse, rich in imagination and color interpretation. As a real talented artist, M. Mucha had his own unique style, based on - the integrity and harmony of outlook, cheerfulness free man, the archetypal idea of unity of man and nature, family and all the family, male and female principles of existence. The role of creativity Honored Master of Folk Art, one of the founders of easel painting decorative M. Mucha is very important in shaping the aesthetic tastes, ideals, concepts and ideas of modern man. Works Makar Korneevich help us join ourselves to universal values and create their own spiritual world by laws of beauty and harmony, is a clear evidence of close cooperation between national master of reality, the nature of which remains part of the existence and development of the arts, including decorative painting. Prospects for further research. In addition to decorative painting easel works, there are other types of folk art, which successfully engaged master. Unique features drawings - to embroidered shirts and carpets, embroideries, and, of products of wood, clay require further research, analysis, and deliver a wide range of contemporary artists, scholars and fans of folk art.

References 1. Bondarenko T. Makar Mucha’s works in the collection of Cherkassy regional art museum / T. Bondarenko // Museum almanac. - Cherkasy, 2011. - Vol. 2. - P. 69-72. 2. Glushchenko AK 27. He had a talent from God / AK Glushchenko // Cherkasy region. - 2006 - 25 January. 3. . Kara-Vasilyeva T. Decorative Art of Ukraine of the twentieth century. In search of «grand style» / Kara T. Vasiliev, S. Chegusova. - Kyiv: Lybid, 2005. - 280 p. ; il. 4. . The exhibition catalog devoted to 100th anniversary of Honored Master of Folk Art of Ukraine Makar Korneevich Mucha. - Kamenka, 2006. 5. I. J. Swan Master of the people / I. J. Swan // Folk art and ethnography. -1976. - № 4 (July-Aug.). - P. 78-81. 6. Makar Korneevich Mucha (1906-1990 gg.): [Graphic material] // Living Tradition: Folk art Cherkasy region. - Cherkasy, 2009. - P. 48-51. 7. Fly MK Exhibition Catalogue / MK fly. - Kamenka: Ed. Chabanenko A., 2005. - 40 p. 8. Christmas K. I. People’s hudozhestvennыe promisiu USSR / Karl J. Rozhdestvenskyy // Album. Narodnoe art. - Moscow: Sov. Artist, 1979. - 374 p.

Summary The contribution of one of the founders of easel painting decorative MK flies to the development of Ukrainian arts and crafts. The review of the main pieces, outlines their relationship with centuries-old folk tradition. Characterized individual style of the artist, based on the archetypal idea of unity of man and nature, family and all the family. Keywords: folk art, artist, Honored Master of folk art, decorative painting easel.

Summaru Olijnyk N. Representation of traditional principles in the creativity of Artist of Decorative Arts M. Myha Folk Art plays a huge role in society, the spiritual development of the nation. It has high moral base, high aesthetic standards that do not lose their importance and are effective factor of cultural development of future generations. Each nation seeks to enter the world civilization with their national cultural heritage. One of these people is Ukrainian heritage wall paintings belonging to the latest time of occurrence kinds of folk art. A good representative of this art form in Cherkasy region in the mid-twentieth century is Muha. The contribution of one of the founders of easel painting decorative MK flies to the development of Ukrainian arts and crafts. The review of the main pieces, outlines their relationship with centuries-old folk tradition. Fiction affect his finesse and subtle lyricism. Coloring his works, especially those that are written in 30-60 years of the twentieth century. Inherent emotional sound clean and soft colors. Most of the early work done on a white background, which is typical for the common folk traditional style mural painting Dnieper. A favorite motif of the author, in this period – harness a variety of colors, unique woven pattern. In 50-60 years the artist creates paintings bright, colorful, life-affirming. The core, these works, the central axis of the world appears Tree of Life, formed asymmetrically arranged symmetrically and fantastic colors. Quite often the motive is painting master image «tree of life», «pot», which is part of the infinite ornament – «ribbon». A favorite motif master of 70-80 years are wonder-birds, whose images are intermediaries between the three mythological worlds. This is mainly Firebird, or freakish peacock that their author is often depicted on a black background with bright saturated colors. It builds around them M. fly its composition, often scene. Interesting and important part of creativity of national artist make paintings in which he recreated images of historical figures. The leading role in his work takes Shevchenko theme. Characterized individual style of the artist, based on the archetypal idea of unity of man and nature, family and all the family. An important role in the work of M. Mucha sit-baths paper decorations, compositional center of each of which is the sun. Emphasized that the creativity inherent M. Mucha mainly floral ornament. However, he composes with great skill there different animals, birds, somewhat stylizuyuchy their shape. Subjects reality master of decorative painting on paper does not tolerate naturalistic and creatively reinterprets them in order to emphasize the characteristics of a particular image, sometimes exaggerating them. All images, even the most complex compositions, the artist performs, usually without preliminary sketches outline pencil. Color harmony forms mainly from a limited number of colors. The works of this master help us join ourselves to universal values and create their own spiritual world by laws of beauty and harmony, is a clear evidence of close cooperation between national master of reality, the nature of which remains part of the existence and development of the arts, including decorative painting. Key words: folk art, artist, Honored Master of folk art, decorative painting easel, style and semantics of images, folk art, creativity, art collection, colors, national artistic heritage, M. Muha, traditional principles.

Annotation Oleynik N. Representation of traditional roots in the works of decorative art Maistrov M. Mucha The contribution of one of the founders of easel painting decorative MK flies to the development of Ukrainian arts and crafts. A survey of major works, outlined their communication with centuries-old folk traditions. It characterized by unique individual style of the artist, which is based on the archetypal idea of the unity of man and nature, the family, the whole clan. Tags: folk art, artist, Honored Master of folk art, decorative painting easel. Nadіyshla to redaktsії 11/14/2014 p.

UDC 7.03 (477.8) T.A. Stepanchuk SEMANTIC-KOMUNІKATIVNA HARAKTERNІST HAVE SUCHASNYJ PAINTING VOLINІ (AT PRIKLADІ TVORCHOSTІ YOUNG MITTSІV) Strіmke do updates sotsіokulturnogo chasoprostoru have Suchasnyj Minds Je pіdґruntyam zhanrovo- stilіstichnogo th semantic komunіkativnogo rozmaїttya hudozhnoї tvorchostі. In sferі Obrazotvorche Mistetstvo s tsієї Zora points Especially zatsіkavlenіst viklikaє dorobok mittsіv, chiє Formation spіvpalo s viniknennyam novih tendentsіy od cob 1990s and have їh rozvitkom away. Tom analіz tvorchostі molodih hudozhnikіv Pevnyi regіonu have danomu vipadku Volinі, krіz prism dualіzmu «suspіlne» - «Іndivіdualne» Je basis for osmislennya shlyahіv rozvitku vіtchiznyanoї culture ostannogo 25 rіchchya and vіdtak - i її away prospects. Tse viznachaє aktualnіst danoї those that її theoreticity znachuschіst. Yakscho Obrazotvorche Mistetstvo Volinі in Yogo іstorichnomu rozrіzі Je subject of low doslіdzhen (pratsі B. Puck [3], pratsіvnikіv Museum Volinskoї іkoni that іn. Іkonopisu toscho about the scope of) the Suchasnyj Etap visvіtlyuєtsya nasampered at criticality dopisi mistetstvoznavtsya Z. Navrotskoї, vіdgukah have perіodichnіy presі that Internet-Vidanov in okremih naukovo publіkatsіyah B. Vitkalova S. Vitkalova i [1], and takozh author danoї stattі at tsomu tvorchіst molodih hudozhnikіv Volinі to sogodnі not bula ob’єktom spetsіalnogo analіzu. Metoyu doslіdzhennya Je virіznennya bunt semantic characteristics in tvorchostі komunіkativnih molodih hudozhnikіv Volinі. Pragnuchi viyaviti Ti Chi INSHI harakternі RISS, pritamannі tvorchostі molodih hudozhnikіv, nasampered rozglyanemo Ti- sotsіokulturnі іstoriko minds in yakih vіdbuvalosya їh formation. Etap’s pp 1990-2000. rozkriv Ti potentsіynі mozhlivostі for samorealіzatsії Mitzi scho trivaly hour boule nedostupnі have togochasnomu of USSR and vіdtak - became bosom for formuvannya yakіsno novoї generatsії mittsіv. On-Perche, Tse usunennya semantic framework іdeologіchnih i klіshe, pritamannih poperednіy eposі. Vіdіyshla in Epoch sotsrealіzmu passed, and once her іz - Formally visvіtlennya kolis aktualnoї dіysnostі in yakіy osobistіst traktuvalasya yak ob’єkt іdeologіchnogo vplivu (semantically symbol yakogo mozhna vvazhati famous «robochem» i «kolgospnitsyu») i nіvelyuvalasya її sub’єktna pozitsіya, in rezultatі chogo porushuvalasya The natural sub’єkt-sub’єktna komunіkatsіya. Splesk Svobody vislovlyuvannya scho rozpochavsya s cob 1990s spriyav viniknennyu novih semantically napryamіv have mistetstvі zagalom that in Obrazotvorche zokrema. Tse nasampered, NATIONAL sphere scho ohopila chasoprostіr od praukraїnskogo Trypillya through varіanti regіonalnih specificities (gutsulsky, polіsky toscho) to Suchasnyj osmislennya pradavnogo simvolіzmu. Natsіonalne was aktualіzovanim i through simvolіku ukrajins’koho kozatstva, skontsentrovanu in narodnіy kartinі («Kozak Mamay», «Kozak i dіvchina» that іn.), Scho was the aktsentuvatisya have zmіstovomu napovnennі Suchasnyj paintings. Tse relіgіyna theme, pov’yazana s Renaissance church yak spiritual іnstitutu i relіgіynoї duhovnostі in tsіlomu. Pіslya trivaloї Pererva sformuvavsya Novi Etap rozvitku іkonopisu scho Got funktsіonalne zastosuvannya and takozh «viyshov» for mezhі church pіdpadayuchi pid zagalnu tendentsіyu sekulyarizatsії yak result napovnennya svіtskogo malyarstva relіgіynoyu semantics. The I zreshtoyu - odvіchna topic fіlosofskogo Eґo Mitzi, scho sounded at Barwa postmodern svіtospriynyattya, vіdtvorena yak at dzerkalі so i in «curves» dzerkalі Epoch. Secondly, this adjustment process subject-communication, bringing in artists an opportunity to express freely their convictions and disclosure communicative horizons - works of a considerable number of artists were exhibited abroad. Unfortunately, the socio-cultural panorama of 1990-2000’s. Was also a number of disadvantages, the main of which eventually turned into a negative trend. Chief among them - the lack of arts management as an integrated system, bringing once again distorted the natural value of talent and chances of its implementation. And anyway, it was a period of twenty years diversity and innovation, extremes of creative freedom to capture the leveling of traditional values, the period in which formed semantic-specificity of modern communicative sociocultural continuum. Before we analyze the semantic-communicative specificity creative artists, whose formation took place in the socio-cultural situation described above, make sense that invest in these concepts in this context. The semantics of a work of fine art treat it as meaning expressed by artistic means. To deepen this understanding extrapolate the scope of Art linguistic assertion that the semantics in the broad sense - is «Analysis of the relationship between linguistic expressions and the world, real or imagined, and it is’ ... and the ratio set such a relationship (yes, we can talk about some of the language semantics). This attitude is that linguistic expressions mean ... that is in the world ... «[4]. Based on the fact that the creation of artistic images by means of their own languages - poetry, music, architecture, painting, will present their views on this issue. The semantics of Fine Arts is an analysis of the relationship between painting and expressions world (real or imaginary). Picturesque expressions, signs show that the artist sees the world, and the semantics of Fine Arts has a much broader interpretation of spaces for the recipient than the semantics of verbal expression. Artist using painting language transmits a variety of information about the continuum, which was formed outside and inside of his creative personality. This update semantics of artistic creation is through rod shaped units, which have the role of semantic character and the level of information potential of the work depends on the value of a sign-language character in the painting and its readiness recipient to «read». Communicativeness fine art defined as a process of emotional, spiritual and intellectual influence on the work of the recipient. The strength of this effect, in our opinion, depends on such factors characterizing the recipient: 1) Familiarity with the language of painting tradition; 2) spiritual level; 3) intellectual level; 4) tastes and preferences; 5) emotional state. Regarding the work of fine art, in the semiotic perspective on the process of communication prevailing influence of his «involvement» in the tradition to be «read» or prevailing novelty to arouse interest and multiple options for interpretation. This full clarity or complete obscurity usually leave indifferent the recipient, and the product produces no effect. The emotional power of communication depends on factors such as 1) the relevance of the story to psycho-emotional needs of the individual; 2) emotional impact barvovoyi palette works and others. Therefore, social and cultural situation in Ukraine in 1990-2000’s. Semantyko- created new communicative characteristics in the art, fully manifested in the work of artists whose process of identity formation coincided with new trends in society. Volyn Among the artists who started creative in 1990-2000’s, already known in Ukraine and abroad young artists Natalia Meles Roman Petruk, Oksana Swiezak Viktor Shvets, Andrew Dihtyaruk and others. In this context, we turn to the writings of two of them, whose work reveals a different semantic communication characteristics. In 1990-ies. Formed Meles N. creative person - an artist who became successful in Volyn, Kyiv and environment. This is the case when the artist «finds itself» regardless of the location, a perfect time in their own space. She studied at the Art Institute of Volyn National University. Ukrainian Lesya, then the desire resulted in self alma mater Ukrainian artists - National Academy of Fine Arts and Architecture, graduated in 2009 in the studio of People’s Artist of Ukraine Mykola Storozhenko, which has a special reverence. Today it is an active participant in the artistic process, genre palette of her work extends from the iconography of the works of poster design to the current topic overcome Russian aggression, is involved in a number of exhibitions - «Ukraine from Tripoli to Present at images of contemporary artists», held on the eve of the Day of Ukraine (Kyiv); «Woodland edge in the works of art» (Luck) and «Forest Eyes of Artists» (Stone Kashyrskyi), which highlights the results of plein air; nationwide anti-war peacekeeping exhibition «Hope» International Day of Peace (Kyiv), etc. Seeking to know the deeper meanings of semantic-communicative creativity N. Meles was interviewed, to which she agreed with its inherent kindness. During the conversation it turned out that, despite the specified genre diverse palette of her work, the artist feels a priority iconography and monumental painting, prefers gesso and oil paint. As for style trends, the Meles says N. dominant orientation of the Ukrainian Baroque sixteenth century., Combined with a modern style. The artist avoids self-esteem and most can not say about most successful work, but the favorite associated with pleasant moments of life, with «professionalism to be around.» The problem of «artist» - «society» in modern terms, the mission of the artist painter sees mainstreaming semantic-communicative processes: «The mission of the artist is to looking at the big picture, people thought made conclusions». It Natasha as usual for her, philosophically looks at the problem of bridging the gap between academic art and the average recipient, since, according to the artist, each artist has his own audience. Now, a lot of young artists working in different styles, and this - the way overcoming that Ukrainian society is able to overcome this gap. In this context arises the problem of art management in respect of which N. Meles said this: «In Ukraine only began this work, these things should be. The artist has to think about work, not about their advertising and sales». After analyzing the semantics N. Meles works, it appears that in the priority area of spiritual and religious themes dominated the Blessed Virgin’s stories and faces of Christ, St. Nicholas. The theme of motherhood as a spiritual phenomenon evident in paintings where religious influence is seen, therefore can be said about the secularization - a modern woman and child, which it nourishes, filed with nymphs saints. Important semantic signs are religious symbols dove, fish and others. This thematic scope of the artist’s paintings reveals special enlightenment and eternal femininity as semantic-communicative specificity tvorchosti1. The opposite semantic-communicative specificity up work, written as a response to Russian aggression in Ukraine. This particular painting «The one who came with a sword» at the exhibition «Hope» 2. Symbol of Russian aggression shown as Satan and the serpent with a red star, which is the gold boom - Ukrainian trident. This symbolic story that is sharply relevant in the present national, is the recipient of a particularly strong response. These different facets of semantic-communicative distinctiveness N. Meles works, but each of them goes through her heart. And to the question «What seems semantic-communicative sense of our own creativity and art in general?» The artist replied: «I can not draw.» Among the younger generation of artists - A. Dihtyaruk, a graduate of the same institute (2009) and now lecturer in Fine Arts of our University. The artist - a constant participant of exhibition process of regional and national importance, including shares of «Day of the artist» (Kyiv), «Memorial Kuindzhi» (Mariupol), and others. Its formation took place in 2000, became the main authority Borysiuk K., L. Medved, D. Stetsko, M. Acts. Among the most famous paintings of the artist - «Sunflowers», «The Cathedral of Peter and Paul» and «carpet», «Still life with garlic», «Still Life with bottles,» sketch «Spring» landscape «The sun sets» and others., With among his own works considers the most successful series «The Way» 3. In an interview with A. Dihtyarukom proved the basic beliefs of the artist, which is the cornerstone of semantic-communicative distinctiveness of his work. Thus, in the genre tendencies in his work to prioritize the development of landscape painting with current global trends. In the field accentuates style post-modern: fihurovanyy and nefihurovanyy abstract painting. Regarding the development of secular and sacred art today, their differentiation and complementarity and the processes of secularization artist expressed the following observation: «Without the division of Modern Art is impossible to determine what criteria can talk about sacred or secular, relevant or irrelevant and so on. D. This question belongs to art historians to investigate. « Obviously, the question of the near future, because the process of secularization has acquired a significant development in the last 25 years. Otherwise, in contrast to the introverted position N. Meles, sees the mission of artist A. Dihtyaruk - in response to public life. This artist does not consider it necessary bridging the gap between academic art and the average recipient. According to the artist, «to be held division of art: art as highly intellectual product; art for mass audience. « We can not fully agree with this position of the artist, as works of fine art may be perceived recipient unprepared even if they have high emotional and communicative potential. An important problem remains: how to bring this to the average viewer exhibition halls? Obviously, A. plausible is the view of management regarding Dihtyaruka art: «The emergence of highly mediator between the artist and the viewer will create artrynok in Ukraine.» Thus, in modern painting Volyn as indicative presented the example of young artists dominate the spiritual and religious, pastoral and abstract semantic sphere and spiritual and religious principles and comment on the realities of today are the backbone of the communicative process. This semantic-communicative sense of individual creativity and fine art in general is not outlined (to A. Dihtyaruka), and therefore - has multiple perspectives in social and cultural chaso- space.

Notices 1 See. electronic resource: http://www.volart.com.ua/art/meles_nataliya/ 2 See. electronic resource: http://museum-painting.dp.ua/ru/news/kiev-dom-hudozhnika-darit-nadezhdu.html 3 See. electronic resource: http://www.volart.com.ua/art/dikhtyaruk_andriy/

References 1. Vytkalov VG Volyn unforgettable figure of image: K. Litvin (1938-1998) / Vytkalov VG, Vytkalov SV // Ukrainian Culture: Past, Present and ways of development: science. app. Rivnen. state. humanit. Univ. - Vol. 17. T. 1. - Exactly: RSUH, 2011. - P. 291- 302 and others. 2. Art Gallery [electronic resource]. - Access: http://www.volart.com.ua 3. Puck V. Volyn in the Ukrainian icon painting XVI-XVIII centuries. / V. Puck // Volyn icon: research and restoration: Proceedings of the XI Intern. Science. Conf., m. Lutsk, Nov. 3-4. 2004 .: sciences. Coll. - Lutsk, 2004. - P. 49-59. 4. Semantics [electronic resource]. - Access: http: // www.krugosvet.ru/enc

Summary Revealed semantic communication features modern painting Volyn embodied in the work of artists whose formation took place in the period of independence of Ukraine. Research carried out the works of Natalie and Andrew Meles Dihtyaruka. Keywords: semantic-communicative character, semantic direction sub’yekt- subjective communication, social and cultural development, art, young artists.

Summary Stepanchuk T. The semantic and communicative characterizations is in modern to painting of Volyn (on the example of work of young artists) The rapid social and cultural renewal timespace in modern conditions is the basis of genre and stylistic and semantic-communicative diversity of artistic creation. In the field of fine arts from this point of view special interest is the legacy of artists whose establishment coincided with the emergence of new trends from the early 1990-s and their development in the future. Therefore, analysis of the works of young artists given region, in this case Volyn, through the prism of dualism «public» – «individual» is the basis for understanding the ways of development of the national culture of the last 25-th anniversary, and therefore - and its future prospects. In the article are semantic-communicative features of modern painting Volyn embodied in the work of artists whose formation took place in the period of independence of Ukraine. This is primarily a national scope, covering pre-Ukrainian temporal space of Tripoli, through regional distinctiveness options (Hutsul, Polissya, etc.) to the modern understanding of ancient symbolism. National and was updated through the symbol of Ukrainian Cossacks, concentrated in traditional painting («Cossack Mamay», «Cossack and a Girl» et al.), Which was to accentuate semantic filling of modern paintings. This religious topics related to the renaissance of the church as a spiritual institution and religious spirituality in general. After a long break formed a new stage of development of iconography that has a functional use, and «went» outside the church, falling under the general trend of secularization as a result of filling secular painting religious semantics. Finally – the eternal topic of philosophical ego of the artist that sounded in colors postmodern worldview, as reproduced in the mirror, and the «distorting» mirrors era. Secondly, this adjustment process subject-communication, bringing in artists an opportunity to express freely their convictions and disclosure communicative horizons – works of a considerable number of artists were exhibited abroad. Unfortunately, the socio-cultural panorama of 1990-2000 years was also a number of disadvantages, the main of which eventually turned into a negative trend. Chief among them – the lack of professional arts management as an integrated system, bringing once again distorted the natural value of talent and chances of its implementation. The article focuses on a number of terminological details that make it possible to reveal the author’s attitude to a particular direction or its component. However, as the author notes, the semantics of a work of fine art treat it as meaning expressed by artistic means. A communicative fine art defined as a process of emotional, spiritual and intellectual influence on the work of the recipient. The study cultural processes carried out the works of artists Volyn Meles Natalie and Andrew Dihtyaruka, are the essence of their work, the main components of the semantic series, search problems, social acuity individual artistic designs. Analyzes their participation in the exhibition activities, thematic aspect presented their art works during these eksponuvan. Thus, in modern painting Volyn as indicative presented the example of young artists dominate the spiritual and religious, pastoral and abstract semantic sphere and spiritual and religious principles and comment on the realities of today are the backbone of the communicative process. This semantic- communicative sense of individual creativity and fine art in general is not outlined (to A. Dihtyaruka), and therefore – has multiple socio-cultural perspectives in timespace, emphasizes the author. Key words: semantic-communicative character, an art school, a new vision, semantic direction, subject-communication, social and cultural development, fine arts, young artists Volyn social dimension of art, the art market.

Abstract Stepanova T.A. Semantic-kommunykatyvnaya distinctiveness in Modern Painting Volyn (Example on Creativity of Young Artists) Viyavlyayutsya semantic kommunykatyvnыe chertы Modern painting Volyn, voploschennыe in Creativity artists, che Formation sostoyalos a period Gosudarstvennoye independence of Ukraine. Example provodytsya Study on Creativity and Natalia Meles Andrew Dyhtyaruka. Keywords: semantic kommunykatyvnaya distinctiveness, subekt-subektnaya kommunikaczii, sotsyokulturnoe Development, yzobrazytelnoe art, molodыe artists. Received 10/19/2014 p.

UDC 745/749 N.I. Olijnyk REPRESENTATION OF TRADITIONAL PRINCIPLES IN HIS WORK BY MUCHA DECORATIVE ART M.

Actuality of theme. Folk Art plays a huge role in society, the spiritual development of the nation. Folk art - this is the very nature of its historical memory, communication and continuous in time. It has high moral base, high aesthetic standards that do not lose their importance and are effective factor of cultural development of future generations. Each nation tends to come into the world civilization with their national cultural heritage. One of these people is Ukrainian heritage wall paintings belonging to the latest time of occurrence kinds of folk art. Under the influence of social and historical conditions mural painting as an art form began to lose its importance and be replaced by other types of display creative imagination, revived in new forms and qualities, primarily drawing on paper, the so-called «Malovkah» which later was given the development of easel works of folk artists. A good representative of this type of art is a master of folk art Ukraine Makar Korneevich Mucha, who successfully worked in the mid-twentieth century. in Cherkasy. The theme is relevant because the work of this talented artist has not been the subject of special scientific research in contemporary art criticism and it is not highlighted. Analysis of recent research and publications. Among art history and cultural studies should mention Article VI swan, which became one of the first works devoted to the works of the original artist [5]. Of particular note is the publication in the press - «Cherkassy Region» [2], in which the author draws attention to the works of Mucha, filled with love for Ukraine, its past, its people. Introduces the works of masters of decorative painting exhibition catalog M. Mucha [7] and the catalog of the exhibition dedicated to the 100th anniversary of the birth of Honored Master of Folk Art of Ukraine [4]. They have the opportunity to see how under the influence of inexhaustible beauty of mother nature, the artist created his paintings, which manifest favorite themes and motifs vizerunkiv- ornaments, motives consonant Ukrainian folk art of the region. The purpose of the study is to review the works of the honored master of folk art, disclosing specific features of his works of art, representation of traditional principles in his works. The main material research. Ukrainian art is genetically specific to a particular ethnic community and centuries passed practical testing. It reproduces in full view of the world and not a separate part of the world people. It is thanks to the Ukrainian art synkretychnosti promotes an integrated system of human artistic and aesthetic views, tastes and beliefs. As a form of existence of the national outlook, Ukrainian decorative painting stands shaped model of human activity, the expression of a holistic understanding of the world and the world of national awareness; artistic and philosophical reflection of harmony and primordial life, of reality, the embodiment of human and national values, moral and aesthetic standards. Decorative and applied art never loses its relevance, it is full of tradition, manifested: the system image, composite plots, motifs, styles, kolorystytsi images. Folk art is always joyful, optimistic. It says the love of life, vital resistance of the people. Features of national character due to the surrounding nature, life structure, history, emotional, psychological warehouse people always define the spiritual meaning and original character created by the hands of the people subjects. Their spiritual fullness and power of expression is causing interest in all forms of folk art [8, 6]. It is this characteristic most responsible Makar Korneevich creativity, artistic talent which, many-sided: from drawings - to embroidered shirts and carpets, but, above all, he is a master of decorative painting. The diary M. Mucha is a note: «I will have my way. I thrust the colors of each piece of their land, their uniqueness and originality. I will be happy with their work, happy to bring it to people modicum of joy and pleasure «[6; 51]. M. Mucha paintings - bright, cheerful patterns of forest, garden, field, indoor plants. In floral wreath master successfully enters roosters, peacocks and other birds [3; 111]. Fiction affect his finesse and subtle lyricism. Coloring his works, especially those that are written in 30-60 years of the twentieth century. Characteristic emotional sound clean and soft colors. Most of the early work done on a white background, which is typical for the common folk traditional style mural painting Dnieper. A favorite motif of the author, in this period - harness a variety of colors, patterns woven single («Decorative panel» MUNDM, 1930, «decorative motif» MUNDM, 1938) [2, 3]. In 50-60 years the artist creates paintings bright, colorful, life-affirming. The core, these works, the central axis of the world appears Tree of Life, formed symmetrically and asymmetrically located with fantastic colors («Decorative panel» Dr.-4011, 1950, «Decorative panel» Dr.-4012, 1950, Decorative panel «Bouquet» Dr.-4034, 1955 «Decorative panel with the bird» Dr.-4064, 1963). This motif painting author takes as an independent composition, in which pairs of placing flowers in the central compositional element symbolizes unity zhyttyestvoryuyuchyh two factors: male and female. Quite often the motive is painting master image «tree of life», «pot», which is part of the infinite ornament - «Ribbon» («decorative motif» al-4021, 1953). This pattern - one in common folk art. Researchers have different areas of this type of creativity unscrambled symbolic images. According to them, «Tree of Life» (fore tree, World Tree, tree genus et al.) Is a symbol of continued recovery nature of gender and, in general, symbolizes the universe. That master in his writings widely used symbols of elements that reproduce people’s knowledge and understanding of the life-giving forces of nature. Speaking of plastic lines, is a characteristic of this view is a picture of 1960 «Harvest.» If the first post-war artist ornaments reminiscent direct sketches of flowers, it is the job characterizes complex rhythmic and plastic construction dominated arc, arched, oval, spiral dynamic lines [5, 78]. The picture is made in warm colors, the basis - rhythmic flower - tree of life, bearing significant semantic load. Interestingly combines master-fitomorfni zoomorphic images in his works. Yes, decorative panels «Deer and Flowers» (al-4047, 1961) on a black background that enhances the vivid colors shown deer are symmetrically surrounded by fabulous flowers and berries. Other work of a similar theme - «deer» (KDIKZ, 1974), created with bright colors, made, like most of the early work on a white background. These pictures are written simply, naturally and are quite shaped. Aesthetics works is subtly feel Makar Korneevich wise laws of nature, the unity of flora and fauna, it harmony. Looking at decorative painting 70-80 years, it is clear that the motive favorite wizard in the period are wonder-birds, whose images are intermediaries between the three mythological worlds. This is mainly Firebird, or freakish peacock that their author is often depicted on a black background with bright saturated colors. It builds around them M. fly its composition, often scene. Charming decorative birds organically woven into the fabric of decorative painting, forming a unit. Often, the artist depicts one («Firebird» OM-240, 1970, «The Firebird in colors» OM-473, 1983, «The Firebird» DP-414, 1979, «The Firebird with a branch of rowan» OM- 485, 1983) or two birds («Lovers» DP-408, 1979, «The Firebird wedding ring with» OM-471, 1983, «Courtship» OM-475, 1983). In his work «The Family» (DP-345, 1977) is also performed on a black background, to emphasize the elegant decoration, bright flowers are organically intertwined with three birds with bright plumage. Interesting and important part of creativity of national artist make paintings in which he recreated images of historical figures. The leading role in his work takes Shevchenko topic: «Poplar», «Mrs.», «Lily», «150 years of the birth of Taras Shevchenko» [2, 3]. The love of the poet germinate in the heart of the artist in childhood, for it is by Shevchenko’s Kobzar learned to read. «Uchitesya, my brethren, think, read ...» (CHHM, 1988) «Where are the iron pillars ...» (CHHM, 1988), «Come daughter, find destiny ...» (CHHM, 1988). For works of M. Mucha inherent mainly floral ornament. However, he composes with great skill there different animals, birds, somewhat stylizuyuchy their shape. Subjects reality master of decorative painting on paper does not tolerate naturalistic and creatively reinterprets them in order to emphasize the characteristics of a particular image, sometimes exaggerating them. All images, even the most complex compositions, the artist performs, usually without preliminary sketches outline pencil. Color harmony forms mainly from a limited number of colors. In Makar Korneevich have their favorite colors, it is with their help, he creates a range of subtle image. Details of flowers, stylized images of animals, birds, outlines the artist imposes watercolors own making. They perepalenoyi he produces with clay, honey, egg yolk. It was with their help, he creates a range of subtle pattern, seeking to paintings made on paper, not faded, kept fresh for years. His favorite color is yellow Makar Korneevich extracts of sunflower petals, chamomile blossom, seeds of white and yellow acacia. Blue - with cornflowers; dark blue - berries elder usual; pale purple - with herbs oregano. The bark of alder onionskin gives red color. Letter bitterling and walnut, cherry bark and berries rose hips, thyme and straw Buckwheat - those plants which harbor colorful works of Makar fly [5; 78]. Many years spent in Kamenetz master. Motives native land passed through all his work. Each work affects the variety of flowers, inexhaustible imagination, attracted by flawless composition. The artist illustrated the works of Taras Shevchenko, I.Nechuy-Levitsky, Pushkin, Tchaikovsky [4]. The most famous of his works - «The Firebird with a red tail,» «The Firebird,» «Peonies», «Peacock and Butterflies,» «Irises» [7; 4]. Many works are devoted to Shevchenko mentioned topic. M. Mucha executed illustrations to the poem «Mrs.», «Dream» mural «Lily flower and Queen» [3; 111], «Lily» «Poplar», «Uchitesya, my brethren, think, read,» «splashing over ducklings wasp» and others. At the exhibition the artist’s works, held in the summer of 1974 in Kano, exhibited work «Kobzar» «Catherine», «On barshchina wheat sting.» An important role in the work of M. Mucha sit-baths paper decorations. The compositional center of each of the seven vytynanok presented at the regional exhibition in. Cherkasy in 1972, is the image of the sun. Center bright red sun, the rays of light, arrows, longitudinal slots, sequins or artist imposes offset color on color to contrast light and dark, so luminous rays give a good visual impression. All pictures are constructed so that kvitky- around a central sun rotates as if the whole composition with lots of smaller flowers stars. Artist-ornamentalist builds a kind of model of the universe [5; 71]. To create a romantic mood he stars alongside kvitamy- Always wonderful colors not found in nature. Image Geometric Flower - is mostly circles, triangles, diamonds borrowed from weaving, where we find the center of each intersection as a symbol of fire. A fire, according to mythology, was considered the son of the sun. As you can see, the unity of the ornament is not broken. The theme of the unity of all life from the cosmos Makar Korneevich develops further. The public honored artist, his devoted work. In 1961 the artist’s name was entered in the Golden Book of Honor region, and in September 1967 Presidium of the Supreme Soviet of the Ukrainian SSR was awarded the title of Honored Master of Folk Art of the USSR. His work is the distinction diplomas and gratitude to the Organizing Committee, All- Union, republican and regional exhibitions, to which he was. In 1970 Makar Korneevich awarded the Lenin Jubilee Medal, and in 1971 - the Order «Badge of Honor» [5; 79]. More than 5,000 works created this indefatigable master. Preferably worked in the genre easel decorative painting, although he has and embroidery, paper decorations and: wood. His work in the style of Ukrainian ornament exhibited in Kiev, Moscow, galleries France, Czech Republic and Slovakia, Bulgaria, Poland and Canada. They adorn the collections of many local museums. [4] 40 works created from more than 5,000 M. fly, are owned Kamensky state historical and cultural reserve and presented in his exhibition gallery. Works of flies kept in the museum of Zaporizhzhya, Dnipropetrovsk, Kyiv, Lviv, Saint Petersburg, Pereyaslav- Khmelnytsky Kaneva. His schedule was exhibited at international exhibitions in Poland, USA, Bulgaria, France and Canada. It should be noted also typical works of the artist. It consists in the ability to combine both the People’s traditional motifs with modern and skills in a normal, everyday discover the most beautiful, the most characteristic. Decorative painting folk artists created an inexhaustible treasury of ornamental figures, extremely diverse, rich in imagination and color interpretation. As a real talented artist, M. Mucha had his own unique style, based on - the integrity and harmony of outlook, cheerfulness free man, the archetypal idea of unity of man and nature, family and all the family, male and female principles of existence. The role of creativity Honored Master of Folk Art, one of the founders of easel painting decorative M. Mucha is very important in shaping the aesthetic tastes, ideals, concepts and ideas of modern man. Works Makar Korneevich help us join ourselves to universal values and create their own spiritual world by laws of beauty and harmony, is a clear evidence of close cooperation between national master of reality, the nature of which remains part of the existence and development of the arts, including decorative painting. Prospects for further research. In addition to decorative painting easel works, there are other types of folk art, which successfully engaged master. Unique features drawings - to embroidered shirts and carpets, embroideries, and, of products of wood, clay require further research, analysis, and deliver a wide range of contemporary artists, scholars and fans of folk art.

References 1. Bondarenko T. Makar Mucha’s works in the collection of Cherkassy regional art museum / T. Bondarenko // Museum almanac. - Cherkasy, 2011. - Vol. 2. - P. 69-72. 2. Glushchenko A.K. He had a talent from God / AK Glushchenko // Cherkasy region. - 2006 - 25 January. 3. Kara-Vasilyeva T. Decorative Art of Ukraine of the twentieth century. In search of «grand style» / Kara T. Vasiliev, S. Chegusova. - Kyiv: Lybid, 2005. - 280 p. ; il. 4. The exhibition catalog devoted to 100th anniversary of Honored Master of Folk Art of Ukraine Makar Korneevich Mucha. - Kamenka, 2006. 5. I. J. Swan Master of the people / I. J. Swan // Folk art and ethnography. -1976. - № 4 (July-Aug.). - P. 78-81. 6. Makar Korneevich Mucha (1906-1990 gg.): [Graphic material] // Living Tradition: Folk art Cherkasy region. - Cherkasy, 2009. - P. 48-51. 7. Fly MK Exhibition Catalogue / MK fly. - Kamenka: Ed. Chabanenko A., 2005. - 40 p. 8. Christmas K. I. People’s hudozhestvennыe promыslы USSR / Karl J. Rozhdestvenskyy // Album. Narodnoe art. - Moscow: Sov. Artist, 1979. - 374 p.

Annotation Olijnyk N. Representation of traditional principles in the work of the master of decorative art M. Mucha The contribution of one of the founders of easel painting decorative MK flies to the development of Ukrainian arts and crafts. A survey of major works, outlined their communication with centuries-old folk traditions. It characterized by unique individual style of the artist, which is based on the archetypal idea of the unity of man and nature, the family, the whole clan. Tags: folk art, artist, Honored Master of folk art, decorative painting easel. Received 11/14/2014

UDC 7.03 (477.8) T.A.Stepanchuk THE SEMANTIC AND COMMUNICATIVE CHARACTERIZATIONS IS IN MODERN TO PAINTING OF VOLYN (ON THE EXAMPLE OF WORK OF YOUNG ARTISTS)

The rapid social and cultural renewal timespace in modern conditions is the basis zhanrovo- stylistic and semantic- communicative diversity of artistic creation. In the field of fine arts from this point of view special interest is the legacy of artists whose establishment coincided with the emergence of new trends from the early 1990s and their development in the future. Therefore, analysis of the works of young artists given region, in this case Volyn, through the prism of dualism «public» - «Individual» is the basis for understanding the ways of development of the national culture of the last 25 th anniversary, and therefore - and its future prospects. This determines the relevance of the topic and its theoretical significance. If Volyn art in its historical context is the subject of several studies (the works of Puck [3], Volyn Icon Museum employees and others. Scope icons, etc.), the current stage is highlighted especially in critical Navrotska C. Entire art, in periodic reviews print and online publications, some scientific publications Vytkalova B. and C. Vytkalova [1] as well as the author of this article, and the work of young artists Volyn until now been the subject of a special analysis. The aim of the study is to determine the main characteristics of semantic communication in the work of young artists Volyn. In an effort to detect certain characteristics inherent creativity of young artists, primarily consider those historical and socio-cultural environment in which it was becoming. Stage 1990-2000’s. They revealed the potential for self-artists for a long time were not available in the then USSR, and then - became bosom for formation of a qualitatively new generation of artists. The first is the elimination of semantic frameworks and ideological cliches inherent in the previous era. Of the past era of socialist realism, and with it - once the formal coverage of the actual reality in which person was treated as an object of ideological influence (semantic symbol which can be considered famous «worker» and «Farmer») and leveled her subjective position, resulting in disrupted natural subject-communication. Splash freedom of expression, which started since the early 1990’s, contributed to the emergence of new semantic trends in art in general and in particular the fine. This is primarily a national scope, covering pre-Ukrainian temporal space of Tripoli, through regional distinctiveness options (Hutsul, Polissya, etc.) to the modern understanding of ancient symbolism. National and was updated through the symbol of Ukrainian Cossacks, concentrated in traditional painting («Cossack Mamay», «Cossack and a Girl» et al.), Which was to accentuate semantic filling of modern paintings. This religious topics related to the renaissance of the church as a spiritual institution and religious spirituality in general. After a long break formed a new stage of development of iconography that has a functional use, and «went» outside the church, falling under the general trend of secularization as a result of filling secular painting religious semantics. Finally - the eternal topic of philosophical ego of the artist that sounded in colors postmodern worldview, as reproduced in the mirror, and the «distorting» mirrors era. Secondly, this adjustment process subject-communication, bringing in artists an opportunity to express freely their convictions and disclosure communicative horizons - works of a considerable number of artists were exhibited abroad. Unfortunately, the socio-cultural panorama of 1990-2000’s. Was also a number of disadvantages, the main of which eventually turned into a negative trend. Chief among them - the lack of arts management as an integrated system, bringing once again distorted the natural value of talent and chances of its implementation. And anyway, it was a period of twenty years diversity and innovation, extremes of creative freedom to capture the leveling of traditional values, the period in which formed semantic-specificity of modern communicative sociocultural continuum. Before we analyze the semantic-communicative specificity creative artists, whose formation took place in the socio- cultural situation described above, make sense that invest in these concepts in this context. The semantics of a work of fine art treat it as meaning expressed by artistic means. To deepen this understanding extrapolate the scope of Art linguistic assertion that the semantics in the broad sense – is «Analysis of the relationship between linguistic expressions and the world, real or imagined, and it is’ ... and the ratio set such a relationship (yes, we can talk about some of the language semantics). This attitude is that linguistic expressions mean ... that is in the world ... «[4]. Based on the fact that the creation of artistic images by means of their own languages - poetry, music, architecture, painting, will present their views on this issue. The semantics of Fine Arts is an analysis of the relationship between painting and expressions world (real or imaginary). Picturesque expressions, signs show that the artist sees the world, and the semantics of Fine Arts has a much broader interpretation of spaces for the recipient than the semantics of verbal expression. Artist using painting language transmits a variety of information about the continuum, which was formed outside and inside of his creative personality. This update semantics of artistic creation is through rod shaped units, which have the role of semantic character and the level of information potential of the work depends on the value of a sign-language character in the painting and its readiness recipient to «read.» Communicativeness fine art defined as a process of emotional, spiritual and intellectual influence on the work of the recipient. The strength of this effect, in our opinion, depends on such factors characterizing the recipient: 1) Familiarity with the language of painting tradition; 2) spiritual level; 3) intellectual level; 4) tastes and preferences; 5) emotional state. Regarding the work of fine art, in the semiotic perspective on the process of communication prevailing influence of his «involvement» in the tradition to be «read» or prevailing novelty to arouse interest and multiple options for interpretation. This full clarity or complete obscurity usually leave indifferent the recipient, and the product produces no effect. The emotional power of communication depends on factors such as 1) the relevance of the story to psycho- emotional needs of the individual; 2) emotional impact barvovoyi palette works and others. Therefore, social and cultural situation in Ukraine in 1990-2000’s. Semantyko- created new communicative characteristics in the art, fully manifested in the work of artists whose process of identity formation coincided with new trends in society. Volyn Among the artists who started creative in 1990-2000’s, already known in Ukraine and abroad young artists Natalia Meles Roman Petruk, Oksana Swiezak Viktor Shvets, Andrew Dihtyaruk and others. In this context, we turn to the writings of two of them, whose work reveals a different semantic communication characteristics. In 1990-ies. Formed Meles N. creative person - an artist who became successful in Volyn, Kyiv and environment. This is the case when the artist «finds itself» regardless of the location, a perfect time in their own space. She studied at the Art Institute of Volyn National University. Ukrainian Lesya, then the desire resulted in self alma mater Ukrainian artists - National Academy of Fine Arts and Architecture, graduated in 2009 in the studio of People’s Artist of Ukraine Mykola Storozhenko, which has a special reverence. Today it is an active participant in the artistic process, genre palette of her work extends from the iconography of the works of poster design to the current topic overcome Russian aggression, is involved in a number of exhibitions - «Ukraine from Tripoli to Present at images of contemporary artists», held on the eve of the Day of Ukraine (Kyiv); «Woodland edge in the works of art» (Luck) and «Forest Eyes of Artists» (Stone Kashyrskyi), which highlights the results of plein air; nationwide anti-war peacekeeping exhibition «Hope» International Day of Peace (Kyiv) and others. Seeking to know the deeper meanings of semantic-communicative creativity N. Meles was interviewed, to which she agreed with its inherent kindness. During the conversation it turned out that, despite the specified genre diverse palette of her work, the artist feels a priority iconography and monumental painting, prefers gesso and oil paint. As for style trends, the Meles says N. dominant orientation of the Ukrainian Baroque sixteenth century., Combined with a modern style. The artist avoids self-esteem and most can not say about most successful work, but the favorite associated with pleasant moments of life, with «professionalism to be around.» The problem of «artist» - «society» in modern terms, the mission of the artist painter sees mainstreaming semantic- communicative processes: «The mission of the artist is to looking at the big picture, people thought made conclusions». It Natasha as usual for her, philosophically looks at the problem of bridging the gap between academic art and the average recipient, since, according to the artist, each artist has his own audience. Now, a lot of young artists working in different styles, and this - the way overcoming that Ukrainian society is able to overcome this gap. In this context arises the problem of art management in respect of which N. Meles said this: «In Ukraine only began this work, these things should be. The artist has to think about work, not about their advertising and sales.» After analyzing the semantics N. Meles works, it appears that in the priority area of spiritual and religious themes dominated the Blessed Virgin’s stories and faces of Christ, St. Nicholas. The theme of motherhood as a spiritual phenomenon evident in paintings where religious influence is seen, therefore can be said about the secularization - a modern woman and child, which it nourishes, filed with nymphs saints. Important semantic signs are religious symbols dove, fish and others. This thematic scope of the artist’s paintings reveals special enlightenment and eternal femininity as semantic-communicative specificity tvorchosti1. The opposite semantic-communicative specificity up work, written as a response to Russian aggression in Ukraine. This particular painting «The one who came with a sword» at the exhibition «Hope» 2. Symbol of Russian aggression shown as Satan and the serpent with a red star, which is the gold boom - Ukrainian trident. This symbolic story that is sharply relevant in the present national, is the recipient of a particularly strong response. These different facets of semantic-communicative distinctiveness N. Meles works, but each of them goes through her heart. And to the question «What seems semantic-communicative sense of our own creativity and art in general?» The artist replied: «I can not draw.» Among the younger generation of artists - A. Dihtyaruk, a graduate of the same institute (2009) and now lecturer in Fine Arts of our University. The artist - a constant participant of exhibition process of regional and national importance, including shares of «Day of the artist» (Kyiv), «Memorial Kuindzhi» (Mariupol), and others. Its formation took place in 2000, became the main authority Borysiuk K., L. Medved, D. Stetsko, M. Acts. Among the most famous paintings of the artist - «Sunflowers», «The Cathedral of Peter and Paul» and «carpet», «Still life with garlic», «Still Life with bottles,» sketch «Spring» landscape «The sun sets» and others., With among his own works considers the most successful series «The Way» 3. In an interview with A. Dihtyarukom proved the basic beliefs of the artist, which is the cornerstone of semantic- communicative distinctiveness of his work. Thus, in the genre tendencies in his work to prioritize the development of landscape painting with current global trends. In the field accentuates style post-modern: fihurovanyy and nefihurovanyy abstract painting. Regarding the development of secular and sacred art today, their differentiation and complementarity and the processes of secularization artist expressed the following observation: «Without the division of Modern Art is impossible to determine what criteria can talk about sacred or secular, relevant or irrelevant and so on. D. This question belongs to art historians to investigate. « Obviously, the question of the near future, because the process of secularization has acquired a significant development in the last 25 years. Otherwise, in contrast to the introverted position N. Meles, sees the mission of artist A. Dihtyaruk - in response to public life. This artist does not consider it necessary bridging the gap between academic art and the average recipient. According to the artist, «to be held division of art: art as highly intellectual product; art for mass audience. « We can not fully agree with this position of the artist, as works of fine art may be perceived recipient unprepared even if they have high emotional and communicative potential. An important problem remains: how to bring this to the average viewer exhibition halls? Obviously, the idea is plausible A. Dihtyaruka concerning the management of art: «The emergence of highly mediator between the artist and the viewer will create artrynok in Ukraine.» Thus, in modern painting Volyn as indicative presented the example of young artists dominate the spiritual and religious, pastoral and abstract semantic sphere and spiritual and religious principles and comment on the realities of today are the backbone of the communicative process. This semantic-communicative sense of individual creativity and fine art in general is not outlined (to A. Dihtyaruka), and therefore - has multiple perspectives in social and cultural chaso- space.

References 1. Vytkalov V.G. Volyn unforgettable figure of image: K. Litvin (1938-1998) / Vytkalov V.G., Vytkalov S.V. // Ukrainian Culture: Past, Present and ways of development: science. app. Rivnen. state. humanit. Univ. - Vol. 17. T. 1. - Exactly: RSUH, 2011. - P. 291-302 and others. 2. Art Gallery [electronic resource]. - Access: http://www.volart.com.ua 3. Puck V. Volyn in the Ukrainian icon painting XVI-XVIII centuries. / V. Puck // Volyn icon: research and restoration: Proceedings of the XI Intern. Science. Conf., m. Lutsk, Nov. 3-4. 2004 .: sciences. Coll. - Lutsk, 2004. - P. 49-59. 4. Semantics [electronic resource]. - Access: http: // www.krugosvet.ru/enc

Summary Stepanchuk T. The semantic and communicative characterizations is in modern to painting of Volyn (on the example of work of young artists) The rapid social and cultural renewal timespace in modern conditions is the basis of genre and stylistic and semantic- communicative diversity of artistic creation. In the field of fine arts from this point of view special interest is the legacy of artists whose establishment coincided with the emergence of new trends from the early 1990-s and their development in the future. Therefore, analysis of the works of young artists given region, in this case Volyn, through the prism of dualism «public» – «individual» is the basis for understanding the ways of development of the national culture of the last 25-th anniversary, and therefore - and its future prospects. In the article are semantic-communicative features of modern painting Volyn embodied in the work of artists whose formation took place in the period of independence of Ukraine. This is primarily a national scope, covering pre-Ukrainian temporal space of Tripoli, through regional distinctiveness options (Hutsul, Polissya, etc.) to the modern understanding of ancient symbolism. National and was updated through the symbol of Ukrainian Cossacks, concentrated in traditional painting («Cossack Mamay», «Cossack and a Girl» et al.), Which was to accentuate semantic filling of modern paintings. This religious topics related to the renaissance of the church as a spiritual institution and religious spirituality in general. After a long break formed a new stage of development of iconography that has a functional use, and «went» outside the church, falling under the general trend of secularization as a result of filling secular painting religious semantics. Finally – the eternal topic of philosophical ego of the artist that sounded in colors postmodern worldview, as reproduced in the mirror, and the «distorting» mirrors era. Secondly, this adjustment process subject-communication, bringing in artists an opportunity to express freely their convictions and disclosure communicative horizons – works of a considerable number of artists were exhibited abroad. Unfortunately, the socio-cultural panorama of 1990-2000 years was also a number of disadvantages, the main of which eventually turned into a negative trend. Chief among them – the lack of professional arts management as an integrated system, bringing once again distorted the natural value of talent and chances of its implementation. The article focuses on a number of terminological details that make it possible to reveal the author’s attitude to a particular direction or its component. However, as the author notes, the semantics of a work of fine art treat it as meaning expressed by artistic means. A communicative fine art defined as a process of emotional, spiritual and intellectual influence on the work of the recipient. The study cultural processes carried out the works of artists Volyn Meles Natalie and Andrew Dihtyaruka, are the essence of their work, the main components of the semantic series, search problems, social acuity individual artistic designs. Analyzes their participation in the exhibition activities, thematic aspect presented their art works during these eksponuvan. Thus, in modern painting Volyn as indicative presented the example of young artists dominate the spiritual and religious, pastoral and abstract semantic sphere and spiritual and religious principles and comment on the realities of today are the backbone of the communicative process. This semantic- communicative sense of individual creativity and fine art in general is not outlined (to A. Dihtyaruka), and therefore – has multiple socio-cultural perspectives in timespace, emphasizes the author. Key words: semantic-communicative character, an art school, a new vision, semantic direction, subject- communication, social and cultural development, fine arts, young artistsVolyn social dimension of art, the art market.

Annotation Stepanova T.A. Semantic and communicative specificity of modern painting in Volyn region (for example, young artists) Identified semantic-communicative features of modern painting in Volyn, embodied in the works of artists whose formation took place in the period of Ukraine’s independence. A study carried out by the example of creativity Meles Natalia and Andrei Dihtyaruka. Keywords: semantic-communicative specificity, SUBJECT-subektnaya communication, social and cultural development, visual arts, young artists. Received 10/19/2014

UDC: 71012 005.591.6 M.V. Koropenko INNOVATIVE RECEPTIONS OF KAZYMYR MALEVICH IN MODERN TECHNOLOGIES OF DESIGN

The development of European fine art connected with temporal changes in social outlook against the backdrop of significant historical events, scientific and technological achievements and principles of moral and aesthetic preferences. Drastic changes in the artistic vision of the second half. XIX - early XX century. were aimed at countering the academic principles of fine art, the invention of new forms of artistic vision, content development and received within modernism, as a center of avant-garde art movements [19; 415]. Study of avant-garde art devoted a lot of research work in various angles consideration of cultural and artistic events. Thus, G. Gubanov considered conceptual ideas direction futuristic opera in 1913 «Victory over the Sun» authorship V. Khlebnikov, A. twisted, Malevich, M. Matyushina comprehensive analysis of artistic means creation of this theater project [4]. AD Filonenko investigated the influence of the artistic avant-garde of the 1920s. The overall formation of the art of the twentieth century. author’s concept and proposed a new approach to the study of Russian avant-garde. [17] N. Kanishyna analysis made artistic aesthetic principles of Ukrainian avant-garde and discovered the influence of folk art imagery in the works of Malevich [7]. In scientific work E. Morozova psychological phenomenon considered provocative artistic avant-garde art as the leading strategy impact on the viewer. [12] Understanding the avant-garde art monographs dedicated B. Turchin [16] JC Markade [10]. Along with the emergence of avant-garde art movements in the early twentieth century. has been transformed concept of clothing. The tendency of society to new, advanced technologies, forms and experience embodied in clothes. Specific changes were images of women fashion because of the refusal of corsets, shortening skirts, changing skyline and its volume. In vogue short haircuts and expressive makeup. Personal expression through clothes imagery has developed along with artistic expression through art avant-garde authors [14; 40-42]. During the twentieth century., With development Féchain industry, the priority of stylistic solutions to create fashion collections, after some fluctuations, has been sustained effect in terms of several popular styles such as minimalism, style unisex, sporty and variety of avant-garde styles, periodically updated, changing each other. Along with robust, classical lines of clothes designing contemporary fashion since the late 50’s. Last century, often prefer developing lineups in high profile modern styles [2, 217-219]. In the study, scientists focused fashion design A. obscure [6] A. Lagoda [8] T. Miller [11] analyzed the suit as a socio-cultural phenomenon against the backdrop of avant-garde and art-shaped design features clothing XIX - early XX century. Melnyk considered connection fashion of the current trends of culture. The book Fashion Sh Silinh investigated as a reagent to changing epochs and transformation of culture from the nineteenth to the twenty-first century. [14]. Teamwork T. Jackson and J. Shaw considers the development of the fashion industry business technology [5]. Following the completion of these scientific papers obvious is the fact that the theme is not explored inspiratyvnoho1 influence of avant-garde artistic movements in general, and innovative creativity Malevich particularly onmodern design of image clothing. The purpose of this paper is to analyze the use of ideas of avant-garde artistic movements early twentieth century. the level of demand and identify key elements of artistic language Malevich paintings to create contemporary collections of fashion designers clothing. Innovative directions in art early twentieth century. received definition «Avant-garde» as being step ahead of similar military terminology. The focus of avant-garde art in the destruction of the traditional artistic vision led to the development of a list of the latest trends in art such as Cubism, Cubo-Futurism, abstraction, Suprematism and others. [19; 415]. Avant-garde artists tried to shock society surprise creative experiments deliberately sought controversial debate own work, but always based on a concept of an artistic idea. Great masters of avant-garde art (A. Matisse, Picasso, P., V. Kandinsky, Malevich, Marc Chagall, S. Dali) audience accustomed to sharp aesthetic experience and developed an interest in contemporary art [18; 140-141]. Figure Malevich strongly pronounced in the list of leading avant-garde artists of world importance. After a creative way through times of Impressionism, sezanizmu, Expressionism, Fauvism, neoprymityvizmu, Cubism and kubofuturizma, the artist created his own style of painting - Suprematism based on irrelevance, heometrychnosti and simplicity of colors [18; 162]. The concept of this style was confirmed in the philosophical writings of Malevich, where he stressed the need to find radically new forms in visual arts. In the manifesto «From Cubism and Futurism to Suprematism» the artist explains the difference between art creation and art display, calling classic painting only the ability to reproduce, copy, instead of true art, he believed the search for new artistic means for implementing conceptually other creative ideas, where «image is nothing in common with nature «[9; 13]. Following these visual principles Suprematist Malevich created a series of works, the most prominent of which is the «Black Square». This painting at the beginning of the XXI century. A hundred years after its appearance remains one of the discussed works of fine art in modern society [19; 425]. Notable is the use heometryky Malevich paintings in modern design, including fashion design. The most famous names of the fashion business made it his career in Paris. Production of exclusive clothes made to order in small workshops developed to fashion houses, along with clothes and «haute couture» 2 consumer space filled products «ready-to-wear» 3. Mass Production of ready made garments justified its profitability and designers began to design fashion collections narrow focus, where all fashions dyzay-related common idea on a topic [1; 502]. In the second floor. The twentieth century. the development of futuristic design ideas in designing fashion collections based on minimalism, avant-garde fashion personified images of artistic movements in collections of clothes. These collections have suffered resonant public discussion and gained consumer popularity as a successful modern manifestation of personal expression through clothing [14; 146]. Given the cost of manufacturing of clothes «ready-to- wear» in a mass production industry Féchain this industry is based on the simplicity of forms, minimize the number of parts and decor. Advantageous performed is a geometric pattern presentation style clothing collections in contrasting color or achromatic judgment, which underlines the ultra modern design ideas orientation [5; 176-177]. Considering the work of avant-garde artists of the early twentieth century. Focus purely geometric paintings can be found only in a certain small number of authors. To address the question posed in the article selected the most notable works of several authors: P. Picasso [18; 151] as the founder of the idea of cubism, W. Kandinsky [19; 419-420] as the creator of abstract art, Malevich [3; 210- 216] as the creator of Suprematism and P. Mondrian [18; 160] as pursuing a «pure abstraction». In studying the powerful works of P. Picasso Gallery is obvious kubistska brushwork, launched by him in the film «Avinonski Virgin» (1907), where figure and background decomposed into plane defined contour and facial features are common type - graphical eyes to different ways grotesque level and straight nose. This characteristic manner transfer images dominates in all subsequent periods artist ‘[19; 421]. A purely geometric compositions where the image is created directly superimposition of colored simple geometric figures, presented in significantly fewer and sometimes enriched with dynamic lines with elements puantylizmu, shading, etc. - «A woman sitting in a chair» (1909), «Man in the Hat ‘ (1912), «Guitarist» (1916). Such compositions are rather complex and expressive. Color varies from achromatic options through pure saturated colors to pastel halftone complex [30]. The creative legacy P. Picasso has a high probability of being used as decoration fabrics fashion designer based on his paintings. Abstraction W. Kandinsky presented expressive, dynamic work in saturated colors with high emotional component. The artist in his own creativity factor relied on improvisation and sought to achieve harmony of color and music, he said, «targeted awakening of the soul» [18; 158]. Abstract composition Kandinsky paintings are bright, consisting of a large number of different elements: contrast, color stains, graphics broken lines, random strokes here and there, with the participation of geometric shapes or schematic drawing objects. A large number of the artist’s paintings full of geometric shapes with the indispensable, the simultaneous presence of graphic lines and color spots. Such work is often performed on a light or dark background concentration of the main image in the center of the composition. [21] In terms of design collections in fashion design, creativity V. Kandinsky material may be inspired to create decorative textiles majeure making mood. P. Mondrian, among other avant-garde artists in the way of creating their own creative concept, overcame minornist own pictorial language in the dark, hnituchiy colors, and a phase Cubist and neoplastytsyzmu came to embody the idea of «pure abstraction». The artist created the so-called «grid» - plane, divided into different colored rectangles. By trying to create the illusion of movement on the canvas through alternating white and colored rectangles. Symbolic for creativity P. Mondrian is a series of works such as composition number 10, number 11, number 12, received embodiment of Yves Saint Laurent in the famous collection «Mondrian» (1965) [2; 269]. In the gallery of the artist there are several works that resemble Malevich Suprematism. Mondrian introduced the song «Feedback» (1924) and «Arithmetic Composition» (1930), consisting of red, black, blue and yellow squares shown in a diagonal direction, such as Suprematism when «Black Square Red Square «series of famous Suprematist compositions were created and released K. Malevich already in 1915 [23]. K. Malevich as well as other avant-garde artists sought to liberate art from copying nature. As a result of creative experiments, he created his own concept of art - Suprematism based on irrelevance with emphasis on the importance of color in a single composition. According to the theoretical interpretation of the author’s work suprematic represent spatial and symbolic imagination, expression of which is colored layout, simple geometric shapes, mostly diagonal spryamovannosti [19; 425]. Beginning of Suprematism of Malevich was to create songs «Black Square» as the scenery for the opera «Victory over the Sun» and was subsequently presented at the first exhibition of figurative art «0.10» («Ten Zero») in 1915 along with other Suprematist works, and acquired the status of a landmark avant-garde art of composition [3; 213]. In the second floor. XX century., Since the late 50’s., Designers have resorted to developments ultramodnыh clothing collections, looking for inspiration in the artistic practice of avant-garde art movements. Arts Malevich reached the status of world-known and attractive to study as vysokozmistovnoyi and visually nadvyraznoyi level of outstanding representatives of European modernism. Postsuprematychnyy and Suprematist periods of the artist proved attractive to fashion creators the conditions coincidence orientation futuristic fashion ideas from conceptual orientation paintings of Malevich. The first manifestation of avant-garde clothing collection was Mr. Cardin «unisex» (1958), which included models of men’s and women’s clothing without distinction of sex. Versatility of clothes in this collection expressed language of minimalism and heometryzmu. The combination of contrasting color planes with minimal decor geometric models in small volume and length suggest correlate collection of images and pictures of K. Malevich’s Suprematism period. In many years of cont P. Cardin observed frequency of treatment to styling imagery avant-garde art, because it is considered the most directional fashion futuristic modernity [22]. In models Cardin collections of different years can easily find the analogy with images of paintings by Malevich postsuprematychnoho period. Actively used in the design is outstanding couturier ovalopodibni, simplified figures of people depicted in cauliflower saturated scheme, the penultimate in a series of paintings of Malevich’s art period 1928-1932 biennium. Such as «Three female figures», «Farmers», «Three Girls» «The complex premonition» [23]. Groups of people depicted in these paintings without faces and riznokolrovomu uniform dress, themselves resemble range of clothing collections, where the principles of design should be present joint design yelementiv, shapes, colors that serve the overall theme of the project. Over the years, the trend on the catwalk demonstrating list of similar models, but in different colors, used other designers as visually spectacular and certainly a win-win expression of design ideas. Relevant examples translating ideas into practice these paintings and color models of common structural foundation is the image created by H. emissions for Queen Elizabeth II. This long-term design project was made famous British fashion designer, who worked on style suits monarch for almost 40 years since her coronation in 1952 The world-famous and recognizable is the pictures of Elizabeth II in which using photomontage depicts Her Majesty in numerous variants colorful dresses, almost identical silhouette and shape [32]. Along with P. Carden futuristic collections admired A. Kurrezh and Yves Saint Laurent, which can be seen heometryku Suprematism options contrast black and white reminiscent of the «black» and «white» squares of Malevich [14; 148, 167]. In 1965 Yves Saint Laurent presented a collection of dresses based on the work of AP Montriana, namely its famous compositions Number 10, 11, 12 [2; 269]. It should be noted the high level of individuality and expressiveness of these works, but their implementation in the collection «Mondrian» is almost the only successful version. Despite worldwide fame these models dresses, others try to use the original appearance «color lattice» design clothes look a repetition of the theme and color of rectangles or interpreting perceived as geometric decoration, not connected with the work of P. Mondrian. The demand of clothes ready-to-wear was a desire to use consumer audience comfortable, modern and relatively inexpensive clothing. In 60-ies. Sumischaly designers readily mass produced clothes from expensive manufacturing of exclusive models, new fashion brands are prompted to release at least two collections per year [24]. A growing variety of stylistic suggestions arose youth style hippie populyaryzuvavsya clothing made of patterned fabrics (E. Pucci), continued futuristic experiments with new synthetic materials (PA Rabanne), but most actively implemented the idea of a minimalist fashions a small volume of using primitive geometric decoration and smoothly painted fabrics [1; 502]. In 70-ies. At the same time preserving the fashion trends of the previous decade, there was a fashion for long skirts and denim clothing [25]. The following 80 years. Noted the explosion of so-called «Color candy wrappers» popular bright sportswear, shoulders grotesquely expanded with special shoulder pads, combining colorful decoration strips and plastic jewelry. [26] Punk challenged contemporary culture, influencing the activities launched daring design clothes Vkstvud C. and JP Gaultier [2; 330-335]. Researchers say outright fashion comeback minimalist dress in 90’s. Recovery Relevance little black dresses and black or gray pants suit with a white shirt. There is a trend of narrowing the range of colors of fabrics and accessories, special requirements are set for quality design and cut [14; 389]. The beginning of the XXI century. rapidity characteristic fashion trends, the number of styles, novelty technology. Ideas various fashion trends of the twentieth century. often arise on European catwalks first decades of the century [28]. Designers continue to seek inspiration in art and turn to successful incarnations avant-garde artistic movements in the last century fashions. Yes, the famous designers representing the public updated trends 60s .: Fendi, Jean Paul Gaultier, Calvin Klein, Yves Saint Laurent (autumn-winter 2011-2012.), Marc Jacobs, Mochyno Michael Korzo (season vesna- summer 2013), Chanel, Gucci, Chloe (autumn-winter 2013-2014.) [24]. Of particular importance acquired creative approach is the creation of Podium image. Designers also offer consumers to create their own personal style of clothing. The fact that today there is no dominant style in fashion clothes style characterizes the new millennium, as a variant not limited such that spontaneously creates new design ideas [5; 207-208]. Further important is the use of avant-garde art practices, including the works of Malevich as a source of quick forms and color combinations of winning. Designers collections served directly devoted to the artist. Fortunately project design look collection spring-summer 2013 Serbian designer R. Ilinchych and collection of «Suprematyka» autumn-winter 2014-2015 biennium. Performed by Russian designer Alexander Vassa (Vassa & Co) [20]. The study in this article obvious is the fact that in the process of fashion design XX - XXI century. along with traditional manufacturing clothing from famous designers, haute couture emerged and received development more economical way of making fashion collections - pret--wear. Collections of clothes for mass production from the moment of their appearance in the late 50-ies. XX century. until now mainly focused on minimalism and details geometrizm cut and decoration. This is because these styles to modernity and ease of manufacturing in terms of production efficiency and therefore likely a quick sale. Analysis of ideas leading fashion designers to create collections of ready made garments of different decades can be argued that iconic, innovative collection of 50-60 years. And minimalist and futuristic geometric collection of ready-made garments decades, designers created clothing using the style and form of Suprematism and other coloring pictures creative periods Malevich unlimited variability through the combination of elements and images of works of the artist. Malevich’s Suprematist paintings K. postsuprematychnoho periods and full of geometric forms, simplified images combined with contrasting color, which confirms the high likelihood of using fashion as artistic heritage inspiratyvnoho material for the invention of new Féchain concepts.

Notices 1. Inspirations - (lat. - Inspiratio) inspiration, suggestion, instigation // Foreign words dictionary. - 18th ultrasound. - M., 1989 [15. -.WITH. 200]. 2. The term «Haute couture» («from-couture») detailed in French means «high sewing»; to Nowadays, under him understand the apparel creation of the highest quality and is usually translated as «high fashion». Couture dresses from-enforced by hand and only one instance // Aksenova M. Evseeva T., A. Chernov, fashion and style. Modern yentsyklopedyya. - M., 2008. - S. 301-302 [2]. 3. Pret-a-porter (fr. Prêt-à-porter, literally «ready to wear») - making copies of the exclusive licensed apparel for the general population in factory conditions and standard sizes. (Ibid. - S. 221, 224) [2].

References 1. Akiko History of fashion with the twentieth Century XVIII: Collection Kyoto costume institute / Akiko F. Tamamy S. Myky I., v. II / lane. s English. Boris LA - Moscow: Art-Rodnik, 2011. - 720 p., Il. 2. Aksenova M. Fashion and Style / Aksenova M. Evseeva T. Chernova A. - M .: Mir эntsyklopedyy Avanta +, 2008. - 476 p. ill. 3. Velykye artists of the twentieth century / Sost .: PS Bogdanov, G. Bogdanov - Moscow: Martin, 2001. - 479 p., Ill. 4. Gubanov GI Theatre Russians futurystov «victory over the Sun»; Complex analysis: Thesis ... candidate. .: Arts specials. - 17.00.01 - «Teatralnoe art» / Gubanov GI - M., 2000. - 211 p. 5. T. Jackson Fashion Industry / T. Jackson, D. Shaw / Per. from English. - C. Balance Business Books, 2011. - 400 p. 6. obscure AI suit sotsyokulturnom context Vanguard: Author. Thesis ... candidate. kulturolohyy: special. 24.00.01. - Komsomolsk-on Amur, 2003 - 208 p. 7. Kanishyna NM Artistic and aesthetic principles of Ukrainian avant-garde art of the first third of the XX century: Thesis. Thesis ... candidate. Philosophy. Sciences specials. 09.00.08 - «Aesthetics» / NM Kanishyna. - Lutsk, Volyn. state. University of them. Lesya Ukrainian. - 1999. - 19 p. 8. Art Lagoda AM-shaped features costume design clothes late XX - early XXI century. : Thesis ... candidate. Art .: 17.00.05 / OM Lagoda. - H., 2007. - 275 p. 9. K. Malevich Black Square: article. - SPb. : Ed. group «Lenizdat», «Team A», 2013. - 288 p. 10. Markade J. K. Malevich / JC Markade - K .: Rodovid, 2013. - 304 p. 11. Miller MT Fashion art practices in the context of the twentieth century. : Author. Thesis ... candidate. Art. : spec. 26.00.01 - «Theory and History of Culture» / MT Miller. - K., 2008. - 20 p. 12. Morozova EA Socio-psyholohycheskoe Study hudozhestvennoy provocative (On the example of avant-garde art sovremennoho): Dis. ... Candidate. Psychology. Sciences: 19.00.05 / EA Morozova. - M., 2005. - 256 p. 13. Samples SV Эstafeta Arts / Samples SV - Moscow: Arts, 1983. - 240 p., Il. 14. Sylynh Fashion Sh 150 years. Couturier. Designers. Make / Sylynh Sh / lane. s Nam. Kaisarova LI - Moscow: Astrel, 2011. - 512 p., P Ref. 15. Foreign words dictionary. - 18th edition. - M., 1989. - 624 p. 16. Turchin. VS For labyryntam Vanguard / VS Turchin - Moscow: MGU, 1993. - 248 p. 17. Fylonenko DY Neoklassycheskoe natural science in the forefront of Russian culture in 1920-ies: Thesis ... candidate. cultural studies: Spec. 24.00.01 / Fylonenko DY - Ekaterinburg, 2008. 18. Hodge A. History of Art. Painting from Giotto to our days / AN Hodge [Lane. s English. Kazachenko LV]. - X: Factor, 2012. - 208 p. 19. H. W. Jansson Fundamentals history Arts / H. W. Jansson / n. Per. : V. Fateev, I. Komarov et al. - St. Petersburg, 1996. - 512 p.

Electronic Resources 1. Vassa & Co. Collection «Suprematyka» [electronic resource]. - Access: http://www.love2beauty.ru/woman/style/articles/lookbook-vassa- fall-winter-14-15-suprematika (see. Photo) 2. V. Kandinsky paintings: registered site [electronic resource]. - Access: http://www.wassilykandinsky.ru/painting1914-1921.php 3. Pierre Cardin, photo collections 1958 .: [electronic resource]. - Access: http://www.pierrecardin.com/couture_en.html 4. Kazimir Malevich: [electronic resource]. - Access: http: //www.if- art.com/pgallery/per/kmalevich/4.html (see. Ill.) 5. Fashion 60s. XX century., Article, photo: [electronic resource]. - Access: http://wiki.wildberries.ru/styles/%D1%81%D1%82%D0%B8% D0%BB%D1%8C-1960-%D1%85- % D0% B3% D0% BE% D0% B4% D0% BE% D0% B2 6. Fashion 70s. XX century., Article, photo: [electronic resource]. - Access: http://youstyles.ru/istoriya-mody/moda-70-x-godov-foto.html 7. Fashion 80s., Article, photo: [electronic resource]. - Access: http://fashiony.ru/page.php?id_n=64024# 8. Fashion 90s., Article, photo: [electronic resource]. - Access: http://www.retromoda.ru/retro-fashion/fashion90s/fashion90s.html 9. Fashion XXI century. article photo: [electronic resource]. - Access: http://www.myshulka.ru/node/88 10. P. Mondrian paintings: [electronic resource]. - Access: http://gallerix.ru/storeroom/1729666578/ 11. P. Picasso paintings: [electronic resource]. - Access: http: //www.pablo-ruiz- picasso.ru 12. Roksanda Ilinchych. Clothing Collection spring-summer 2013: [electronic resource]. - Access: http://ves4i.com.ua/Roksanda-Ilincic 13. Clothing style. Elizabeth II [electronic resource]. - Access: http://www.google.com.ua/search?q=стиль+одежды+королевы+елизаветы (see. Photo)

Summary Consider priority use of modern clothing designers innovative tools for creating artistic images Malevich as a significant representative of avant-garde artists of the early twentieth century. Keywords: avanhardnee art, fashion design, geometrization image, coloring.

Summary Koropenko M. Innovative receptions of Kazymyr Malevich in modern technologies of design The development of European fine art connected with temporal changes in social outlook against the backdrop of significant historical events, scientific and technological achievements and principles of moral and aesthetic preferences. Drastic changes in the artistic vision of the second half. XIX – early XX century, as we know, were aimed at countering the academic principles of fine art, the invention of new forms of artistic vision, content development and received within modernism, as a center of avant-garde artistic movements, giving artists opportunities for further experiment. Along with the emergence of avant-garde artistic currents of the early twentieth century there was a transformation of the concept of clothing. The tendency of society to new, advanced technologies, forms and experience embodied in clothes. Specific changes were images of women fashion because of the refusal of corsets, shortening skirts, shift and its volume of a skyline. In vogue short haircuts and expressive makeup. Personal expression through clothes imagery has developed along with the authors of artistic expression through art avant-garde. During the twentieth century, with the development Féchain industry, the priority of stylistic solutions to create fashion collections, after some fluctuations, has been sustained effect in terms of several popular styles suchas minimalism, style unisex, sporty and variety of avant-garde styles, periodically updated, changing one other. Figure Malevich strongly pronounced in the list of leading artists anhardystiv world importance. After a creative way through times of Impressionism, sezanizmu, Expressionism, Fauvism, neoprymityvizmu, Cubism and kubofuturizma, the artist created his own style of painting - Suprematism based on irrelevance, heometrychnosti simplicity and colors. In the article the priority use of modern clothing designers innovative tools for creating artistic images Malevich as a significant representative of avant-garde artists of the early twentieth century. It is obvious that in the process of fashion design XX – beginning of XXI century, along with traditional manufacturing clothing from famous designers, haute couture emerged and received a more economical way of making fashion collections – ready-to-wear. Collections of clothes for mass production from the moment of their appearance in the late 50-s. XX century until now mainly focused on minimalism and details geometrizm cut and decoration. This is because these styles to modernity and ease of manufacturing in terms of production efficiency and therefore likely a quick sale. Analysis of ideas leading fashion designers to create collections of ready made garments of different decades can be argued that iconic, innovative collection of 50-60 years and minimalist and futuristic geometric collection of ready- made garments decades, designers created clothing using Suprematism style and shape and coloring pictures other periods works of Malevich unlimited variability through the combination of elements and images of works of the artist. Malevich’s Suprematist paintings K. and postsuprematychnoho periods of his work full of geometric forms, simplified images combined with contrasting color, which confirms the high likelihood of using fashion asartistic heritage inspiratyvnoho material for the invention of new Féchain concepts, emphasizes the author. Key words: avanhardnee art, Kazimir Malevich, design technology, fashion design, geometrization image, color, contemporary interpretation of art, paintings, artistic practices, artists, creativity, minimalism, Suprematism, innovative techniques, development trends, the present experiment.

Annotation Koropenko M.V. Innovative methods of Kazimir Malevich in modern design- technology Consider priority use of modern fashion designers of innovative methods of creating artistic images Malevich as an important representative of the avant-garde artists of the early twentieth century. Tags: avant-garde art, fashion design, geometrization of the image, coloring. Received 10/18/2014

UDC: 7.012 747 S.V. Oborska ТHE DESIGN CONCEPT OF THE INTERIOR CREATING IN THE LEISURE AND RECREATION INSTITUTIONS

Human activities in the cultural and recreational environment is mobile, it contributes to the successful implementation of personalization and socialization humanizing living space in which it be realized itself as an active culture. Adjustment of human activity various cultural and spatial situations is central to its spiritual and practical attitude to the environment. The most important features of it is its objectivity and spatiality, quality, important in recreational and artistic design. A significant increase in recent years of diverse leisure and recreation facilities confirmed the need for social rights not only in consumption but also in complete rest and recreation, where the aesthetic perception of the interior becomes functional nature in a particular subject-spatial environment. Depending on the functionality of the interior of leisure and recreation facilities designer defines his style features. Research concepts create an interior in these institutions in science today presented the works of Ukrainian and foreign scientists: NA Denisova [4], L. Ivanova [5] M. Malskyy [6] A. Mitrofanov [7] V. Nikolaenko [8] and others. A. Mitrofanov in his thesis considers the structural and semantic aspects of modern restaurant interior environment as education, which promotes leisure functions, improving its forms [7]. The book deals with projects Denisova N. restaurant interior in recent years. A researcher examines innovative design ideas and solutions that enable a person to relax and cultural usefully use their leisure time [4]. V. Nikolaenko, exploring architectural catering facilities, which include restaurants, bars, cafes, cafeterias, dining, night clubs, etc., catering system determines that one of the most complex element of the architectural system of the city, which is in conjunction with communication , industrial, residential, environmental, etc. of the cities [9]. M. Malska highlights the role of modern leisure and recreational facilities in the development of catering, defining the nature of the needs of people in their services. Very popular among leisure and recreational facilities in Kiev enjoys Cafe «Cavern», whose interior is created from natural salt [6]. In the book «The interior design of hotel and restaurant facilities» is considered the methodology forming the interior of hotels and restaurants. We analyze the feasibility of using one or another style in modern interiors. Depending on the architectural features of buildings by offering basic styles of furniture design, linking their choice of tasks conceptual solution of the desired interior a certain hotel and restaurant [5]. Basic principles of organization and design requirements for subject - spatial leisure and recreational environment examines a group of scientists: Hrytsyuk, Linda S. and W. Jakubowski in the manual «Design dining» [3, 106]. It should be noted that the scientific sources of this problem is not so much, and this problem remains insufficiently developed. The purpose of the article is presented the definition of concepts forming the interior of leisure and recreation facilities. In the technical area of human life involves the development of design project, design and other documentation necessary not only to builders or technical field, but also in the creation of various types of industrial products. To this end run economic and technical calculations, diagrams and graphs are preparing explanatory notes, consist estimates more. When designing traditionally understood specific activities aimed at drafting (by V. Dahl). It is characterized by the nature of the action and its focus on the creation of something new in the future. If you are designing a system approach that should determine the structure of the system, the type of bonds, main categories, specific impact on its environment. The formation of design engineering as a kind of early twentieth century. promoted the need for draughtsmen in the exact graphic representation of engineering for the transfer of the performers at work. Gradually designing activities to spread scientific and technical calculations while drawing the basic parameters of the technical system and ordered her previous study [9; 710]. Humanitarian design aims not to produce concepts and ideas, ontological paintings, methods, means and forms of self-organization, strategists needed to move society forward, but for different purposes. In psychology, in particular concerning the development of a design sequence of mental effort and psychophysical qualities to achieve results the spiritual practice. The subject of design in the design and functional structure serves as the subject environment as a whole and its individual components. Categorical design make the machine design concept image, function, morphology, technological form, aesthetic value and others. The design means designing simulation focused on a particular object of general principles and methodology applied aesthetics (the so-called social design). Institutionalized project activities are carried out in an organic relationship with contemporary artistic thinking, and thus is an integral component of spiritual culture. The project significantly affects the culture of modern science, art, psychology of man, his attitude to the social and objective environment. Through various forms of consumption and creation is the formation of stereotypes image of the world project experience, to be created as a result of human activity. The combination of various methods of project activities to certain socio-cultural objects determines appropriate multivariate. For example, due to the synthesis of artistic and technical design formed technology design paradigm with a specific project that is a combination of a dominant era of historical and cultural attitudes of human activity. Differentiation of the design of stereotypes associated with solving specific socio-technical problems had led to multiple forms of engineering and design culture, the emergence of new systematic and methodological orientations. [9; 743]. Contemporary art engineering (engineering) - a professional ability to use science for the purpose of achieving the optimum processing of natural resources for the benefit of mankind. This is also a form of commercial links in the field of science and technology, whose main focus - the provision of proof of research and experimental development to production stage. Engineering is based on achievements in physics, chemistry, mathematics, as well as their application in applied materials science, continuum mechanics, thermodynamics, transport processes and systems analysis. With most modern engineering related expertise. Expanding fields of engineering, not only in technical and economic sectors of the economy led to the isolation of designing an independent region and its further transformation in the system design of human activity. Operation system design increasingly extends to various areas of social practice, including the service sector, educative process management activities and more. As a result of the so-called emerging socio-technical design, providing meaningful improvement in the organization of social structures. In contrast to the technical design, a major attention is paid to improving the conditions of human activity and its social and psychological aspects. The successful deployment design activity in the field of leisure and recreational business involves two approaches. The first of these is associated with the use of theatrical-gaming technology. This approach to attract patrons of restaurants and cafes makes designers carefully design and decorative elements of theatrical props, practice mechanisms witty interactivity. Original in this regard should be considered not just creative names of leisure and recreation facilities, but also create interior according to his name. Shaping by design interior designer offers visitors a synthesized image - the original artistic painting interior intricate names to dishes on the menu institution. A significant role in the popularity of recreational commercial institution played its name and location. Very popular in Odessa citizens and guests of the Black Sea city enjoyed building the restaurant «Déjà Vu», located near Duke (monument to the first governor-general of Odessa E. Armand du Plessis, Duke de Richelieu). Meaningful design of this restaurant complex plot outline corresponded to the popular movie «Deja Vu», the captured Polish director Yu Mahulskym in Odessa. The film takes place in 1930 turns: in America, Exhausted «dry law», and full of enthusiasm Soviet labor Odessa, whose population was engaged in and successfully brew. According restaurant halls representing the two worlds - the USSR and America. Large steel beams «American» restaurant halls, coming from the walls, as if holding up the ceiling. This created the idea that Hall is located under the «bridge» over which the towering walls outlined silhouettes of skyscrapers. In parked in the «bridge» «Cadillac» arranged buffet. The floor is decorated with beautiful fluffy carpet making steps waiters completely silent, the walls are decorated with massive wooden panels textured insert an eclectic mix of respectability and depravity. «Soviet» Hall represented a fragment of the waterfront where the ship moored white, which opens for party functionaries promised light distance. However, as always, is not so great: in a dining hall are ideologically hostile strip bar and basement casino - a symbol of the White underground. Masterfully equipped to produce vodka water dispenser - the top of the local civilization. Restaurant, faithful to the traditions of the Odessa humor and offers appropriate dishes: an appetizer «Kalmarksyzm» language salad «Not Dumpty» and others. When conservative approach leverages designer mood. Recreational facility meets the customer’s home comfort (bar «Crazy Milk»), romantic expectations («Amarcord»), a sense of security and confidence (cocktail bar «Safe») and others. Lounge «Safe» in Kiev, for example, is a multifunctional institution: in the daytime it is used as a cafe and a restaurant in the evening works as a cocktail bar. Interior designer restaurant «safe» in Kiev do not overload its details. Spectacular and stylish facilities offer tastefully matched with different surface texture that alternating, set a synchronization coexistence things: track draped with glass stones in a row with their fantastic illumination, rough brick columns, is the original wooden bar with «Starry sky» above it, complemented stylized boat with bottles of drinks and highlights panels. Furnishings cocktail bar «Safe» company Kartell chairs from F. Stark naturally fit into the interior. Thus, the important role of designers «Safe» assigned illumination, in tune with the texture of the material, and therefore emphasizes the attractive structural area. Lighting of a recreational facility conceived so that pressing a few toggle switches change functionality premises: its interior is easily converted from the cafe-restaurant-club in Barno. And ultimately exclusive to the «Safe» is the absolute absence installations and props. The most difficult challenge for the designer is to design an attractive interior for the client at the subconscious level. Work on the interior begins with a clear answer to the question: what resources have, we want to make and for whom exactly? So is particularly important conceptuality slim design activity. The concept (from Lat. Conceptio - understanding) means the conceptual design work leading his opinion. In various disciplines, the term has its value. In economics it means the general line of action in implementing certain reforms, projects and plans, programs and frame of processes and phenomena in nature and in society. In philosophy - a system of world views, the interpretation of certain objects and phenomena. She identified with the leading design idea and principle that implements a specific idea in some theoretical semantic practice. The concept is called and the basic methodof forming disciplinary knowledge, combining in this respect science, theology and philosophy as a key discipline prevailing in the European cultural tradition [1]. Conception, proclaimed verbally, often the name of the institution. In successful title expresses the essence of functional institutions. For example, the name of the restaurant «Fasadъ» focuses on socio-cultural retrospektyvnosti and suggests creative artistic approach designer: indoor restaurant z’imitovana street. A Moscow restaurant name «Goa» is associated with such exotic names as the Indian resort that meets the image of this restaurant-club. Formation interior requires a certain starting point around which formed future recreational space. To find the right designer often refers to cultural achievements historical practice of mankind are warranted experience using conceptual scheme of decoration historic styles, treating them as model or sample in their design activities. Therefore, usually used is used in many entertainment and recreation facilities fountains, paintings, vases, sculptures and other important elements of interior «decoration». Attract attention of clients restaurant chain promotes interior styling stereotypes in the context of the specific history of world culture, including «Greek halls.» Ornament or painting on an antique theme, vase «under the antique» can set the desired interior perception. The notion of style (from the Latin. Stilus - stick to the letter, Greek. Στηλη - stele, in the ancient world and the Middle Ages) is multifaceted. Style in literature and art - unity of content and artistic forms of imagery that characterizes the art of a certain historical period and direction on specific socio-historical conditions. The term also means an individual style, unique ideological and artistic techniques and methods of work of the artist [2]. Related to the notion of identity is a phenomenon styling - deliberately providing artistic style, characteristic of a particular author, genre, trends, and the art and literature of a particular social community or ethnic group. Styling should be separated from assimilation, which plays only external features, without regard to the particular artistic task and of parody, which is changing dramatically and features hiperbolizuyutsya «prototypal» style. Designing interiors of the restaurant, bar or cafe as places of public leisure and recreation in a modern market society is a broad field of applications creativity of modern artists and designers. And the interior is fleeting operation - no more than three-four years. Therefore, when creating an interior in leisure and recreation facilities every designer is guided by certain design concepts. Design concept - the idea of a generalized project construction, scientific and reasonable solution of the problem. It consists of four structurally coherent units: production of professional ideology because of project analysis; building systems design principles; determining the parameters of specific image way; socio-economic support solution.

References 1. Bech V.P. technocratism problems in the discourse of high school / Bech VP, I. V. Malik. - K .: Izd NEA them. MPDragomanov, 2009. - 263 p. 2. T. Cultural Gritsenko. Teach. guidances. / T. Hrytsenko, S. Gritsenko, A. Kondratyuk, etc .; Ed. T. Gritsenko [2 ed. |. - K: Center uchb. l-ry, 2009. - 392 p. 3. Gritsyuk L.A. Design dining [Text]: textbook. [for students. HI. teach. bookmark.] / Gritsyuk L., Linda S., W. Jakubowski - Leningrad: Izd Lviv. Polytechnic University, 2012. - 184 p. 4. Denisova N.I. Restoranniy Interior: ideas and design / NI Denisov. - Moscow: Restorannыe Gazette, 2006. - 120 p. 5. Interior Design otelno-restorannыh objects / LA Ivanova, OV Dыshkantyuk, Polevaya SE - Kherson: Oldy Plus, 2014. - 226 p. 6. Malska restaurant right MP / MP Malska, OM Hotolyak, NM Ganych. - K .: Kyiv. nat. torh.-economical. University Press, 2013. - 239 p. 7. E.V. Mitrofanov interior design restorannыh wound conc Russia XIX - beginning of XXI centuries: Author. Thesis ... candidate. yskusstvov .: spec. 24.00.01 - «Theory and History of Culture» / EV Mitrofanov; Yaroslavskyy Educat. ped. University of them. KD Ushinsky. - Yaroslavl, 2006. - 20 p. 8. V. Nikolaenko Methods architectural formation system-wide catering: Author. Thesis. ... Candidate. Architecture: special. 18.00.01 - «Theory of architecture, restoration of architectural monuments» / Vladimir Nikolayenko; Donbass. nat. Academy of Civil Engineering and Architecture. - Makiyivka - 2013. - 20 c. 9. Stepin VS Philosophy of science and technics: Textbook. posob. / VS Stepin, V. Gorokhov, MA Rozov. - Moscow: Call Alpha, 1995. - 384 p. Summary We consider the implementation of conceptuality designs interiors establishments of leisure and recreation. Reveals the specifics of interior design and features of its styling. Keywords: design concept, interior, leisure and recreation agencies, design culture, style and image.

Summary Oborska S. Тhe design concept of the interior creating in the leisure and recreation institutions A significant increase in recent years of diverse leisure and recreation facilities confirmed the need for social rights not only in consumption but also in complete rest and recreation, where the aesthetic perception of the interior becomes functional nature in a particular subject-spatial environment. Depending on the functionality of the interior of leisure and recreation facilities designer defines his style features. In the technical area of human life involves the development of design project, design and other documentation necessary not only to builders or technical field, but also in the creation of various types of industrial products. To this end run economic and technical calculations, diagrams and graphs are preparing explanatory notes, consist estimates more. We consider the implementation of conceptuality designs interiors establishments of leisure and recreation. Reveals the specifics of interior design and features of its styling. The successful deployment design activity in the field of leisure and recreational business involves two approaches. The first of these is associated with the use of theatrical-gaming technology. This approach to attract patrons of restaurants and cafes makes designers carefully design and decorative elements of theatrical props, practice mechanisms witty interactivity. Original in this regard should be considered not just creative names of leisure and recreation facilities, but also create interior according to his name. Shaping by design interior designer offers visitors a synthesized image – the original artistic painting interior intricate names to dishes on the menu institution. When conservative approach leverages designer mood. Recreational facility meets the customer’s home comfort, romantic expectations, a sense of security and confidence, and others. The most difficult challenge for the designer is to design an attractive interior for the client at the subconscious level. Work on the interior begins with a clear answer to the question: what resources have, we want to make and for whom exactly? So is particularly important conceptuality slim design activity. Attract attention of clients restaurant chain promotes interior styling stereotypes in the context of the specific history of world culture, including «Greek halls». Related to the notion of identity is a phenomenon styling – deliberately providing artistic style, characteristic of a particular author, genre, trends, and the art and literature of a particular social community or ethnic group. Styling should be separated from assimilation, which plays only external features, without regard to the particular artistic task and of parody, which is changing dramatically and features hiperbolizuyutsya «prototypal» style. Designing interiors of the restaurant, bar or cafe as places of public leisure and recreation in a modern market society is a broad field of applications creativity of modern artists and designers. Therefore, when creating an interior in leisure and recreation facilities every designer is guided by certain design concepts. Design concept – the idea of a generalized project construction, scientific and reasonable solution of the problem. It consists of four structurally coherent units: production of professional ideology because of project analysis; building systems design principles; determining the parameters of specific image way; socio-economic support solution. Key words: design concept, interior, leisure and recreation agencies, design culture, style, image artistic decoration, designer, interior design specifics, travel, taste, modern innovative technologies, national context.

Annotation Oborska S.V. Create an interior design concept in leisure and recreation facilities Conceptual designs of interiors realization in leisure and recreation facilities. Illuminating the specifics of interior design and features of its styling. Keywords: design, concept, interior, leisure and recreation agencies, design culture, style and image. Received 11/15/2014

UDC 7.08-028.16 A.N. Tadla SPECIFIC FEATURES COMPERE IN A CONVERSATIONAL GENRE ON STAGE

Formulation of the problem. Analysis of Contemporary Art pop can identify certain local points inherent in this type of work. The transformation that happens to spoken genres on stage, especially with the compere, is a structural crisis. The crisis is not so much related to the artistic quality of genre material, although pop drama, actor craftsmanship has always been topical issues as crisis As for the genre as a whole. Analysis of recent research and publications. Conversational genre on stage devoted many publications, including the works of local and foreign authors [1-2, 4, 11-12, 14]. The problem is reflected in the number of works that explore the arts stage [2, 7- 9, 15]. The wording of objective article. The article is to determine the specific features compere in a conversational genre today. The theoretical justification of the research object requires consideration of scientific approach, under which will form an idea of the phenomenon and limits the compere paths and directions of further development of conversational genres on the stage. Presenting main material. Variety, as an art form, can be combined in a single concert stage numbers in a wide range of genres, from music, theater, dance to complex synthetic forms, which reveal a variety of expressive means. A special place in pop art occupy conversational genres. The main attribute: ceremonies (solo, pair, staged), fables, satires (literary, musical), couplet parody (literary, music), pop monologue thumbnail miniatures (staged anecdote), sketch, various genres of literary stage: oral story, mono performance (literary, artistic, literary and musical) and poetic theater actor. In the book «A serious and funny» known entertainer Alexander Alekseev recalled: «During his life on stage I experienced the difficulties of acting, directing, dramaturgy, pedagogy, compere all seem took a sip and says that the hardest ceremonies» [1; 27]. The origin of the name of the variety genre belongs to the Latin verb «conferre», which means «collect», «merge» and the French word «conferer» - «talk» or British «conference» - «Conference» [11] . In the Great encyclopaedia «Entertainer» [French. Conférencier - Speaker] entertainer, presenter of the concert, with self-serving, often comedic, numbers [5]. In the explanatory dictionary of modern Ukrainian language «ceremonies - performance on the stage of doing the program pop performances, concerts, etc., and the text of the speech» [5]. People’s Artist of the RSFSR Smirnov-Sokolsky formed concept as entertainer «Lyudynm talking with the public», «entertainer - connector auditorium with a stage, ... representative actors in public and members of the public to the actors «[12; 225]. As defined by B. Ardova «entertainer - actor leading concert and performs during his own numbers» [2; 38], and by A. Alekssyevym: «... the master of ceremonies in the evening ... auditorium all - the audience and the stage and behind the scenes - actors. And those and others - my guests. I entertainers should introduce you care about is that you liked each other during the concert «[1; 230]. M. Germanova focuses on the fact that «the entertainer - a man who gathers people who came to the concert in the whole and something tells them ...» «... first, entertainer connecting the auditorium and the stage , audience and actors, making those and other creators of pop performances; Secondly, it brings together some numbers to pop program; Thirdly, the message emcee (presentations between numbers) are mainly humorous or satirical in nature and close to possible today «[7; 7]. Thus, communication with the hall - is complex and unpredictable, depending on the composition of audiences that its socio-cultural and age characteristics. This thesis notes and known entertainer Boris Bentsianov [3]. «The entertainers his partner - always in the auditorium, and the partner is always unpredictable, always strange, always different ... Even in one day: in the morning it could be a concert by students and graduates in the evening - professors, the next day - Students in the morning and in the evening a gathering of all-union educators ... and communicating with the partner is always a surprise. Who are they? How did they take you? You will be able to get them to listen? Answer? ... It is in my genre, he always responds. Of course, mentally, but responsible ... because «no other genre of pop artist does not require the presence of such an important set of not only professional, but also moral and ethical qualities of deep erudition like ceremonies» - emphasizes I. Bogdanov [4; 118]. We believe that the ceremonies is the art of improvised dialogue, which is a form of conversation with the audience on the theme of the concert. Art compere emerged and formed a Parisian cabaret and kafeshantanah in the second half. XIX century. The first professional entertainer considered R. Salis, a cabaret owner monmartrskoho «Chat noire» (1881). In the late nineteenth - early twentieth century. ceremonies performed in vaudeville theaters, miniatures, which gathered writers, artists, musicians, and artists spent time in the evenings impromptu concerts, which were leading or acted funny thumbnail sketches, sketches. In the Russian Empire appearance of ceremonies associated with skits artists of the Moscow Art Theater (MAT) at the beginning of XX century. Theater where N. Baliyev introduced ceremonies. K. Stanislavsky wrote of him: «His inexhaustible fun, ingenuity, wit - and the very essence, in the form of stage feed their jokes, courage, boldness often reached, the ability to keep the audience in his hands, a sense of proportion, the ability to balance on the edge daring and cheerful, humorous and offensive, the ability to stop and give the joke completely different direction natured - all this made him an interesting figure of the new artistic genre we «[13; 364]. In 1908 he opened the cabaret «Die Fledermaus» and took over the duties of master of ceremonies. In the coming decade biography cabaret at 1918 N. Efros mat historian described the history of the origin of the theater in «Hudozhestvennыy teatrъ - serёzneyshyy teatrъ, Ck heroycheskymъ napryazhenyemъ, vъ burleniy tvorcheskyhъ sylъ razreshayuschiy samыya slozhnыya stsenycheskiya problems. But in akterovъ эtoho theater - and bol’shaiaki love humor, Large vkusъ kъ joke. they always loved Laughter. Exit this dolzhna dat «Letuchaya mыsh», here nastroenya, thoughts and objectives, Ck kotorыmy Baliev N. and N. Tarasovъ, shruppyrovav Around the comrades themselves in theater and Podwale arendovaly podvesyly kъ ego gray svodchatomu ceilings letuchuyu mыsh. Mesto recreation people - pryvolnoy kingdom, but krasyvoy joke, and further from strange publyky «[16; 76]. Following smiling N. Baliyevym m. Odesa m. Kyiv, began his journey in the profession ceremonies just another typical ironic image of the person A. Alekseev (from 1915 - Petrograd «Pavilion de Paris»). In the cabaret «Stray Dog» revealed his talent as entertainer Peter Kohl (Petrov) in cabaret «distorting mirror» - F. Kurihin. In ‘10, due to the increasing number of miniatures theaters and cabaret entertainer profession there. At the beginning of the twentieth century. Specialized theater journals articles about entertainers appear, which states that it «must be a valid, well-read, polite, well aware of topical events, Russian and European» («Artystycheskyy Peace», 1912. number 7). [15; 298-299]. Wide entertainer of art reached on the Soviet stage. Among the famous Soviet entertainer - A. Grill, Hybshman K., G. Amur, A. Mendelevich, A. Glinsky, M. Harkavy, P. Murawski, B. Bruno, A. Milyavskaya and others. Each of these ceremonies was looking for his own mask corresponding repertoire that kept visibility improvizatsiynosti, if necessary house «blanks» - reprises, monologues, jokes, anecdotes, numbers and so on. Doubles ceremonies (Worlds L. and M. Novitsky, Y. Tymoshenko and Berezin et al.), Where his art show two ceremonies, approaching the role and comedian arguer. Doubles ceremonies has certain characteristics that might make it more interesting compared to solo. Having a partner only becomes bright and expressive, when the two entertainers present conflict conflict conflict. And this conflict should not arise in the interludes and reprises, and just wonder, with the first appearance of a pair of ceremonies on the stage. All this translates on stage ceremonies in a dispute, debate. In doubles ceremonies always appears logical direct appeal to the audience as each performer looks at public support for their own positions. This allows you to actively involve the public to game situations: for sure one of the audience will position one, the second part - the other, which helps create an atmosphere in the hall of positive interaction between artists and audience. At the present stage compere formed three types: solo, pair and staged. Instsenizovanyy ceremonies - a performance artist, or artists that are communicating with the public do not act on its own behalf and on behalf of the character - masks. It is the language and the game character with his usual specificity, appearance reincarnation in the image. C. Klitin describes three main patterns: variety, contrast, conjugation, given that you can find the best option for the location of rooms in the concert program. Variety. Concert programs, which are carried homogeneous genres are organized on the basis of such a combination thereof, where each room feature some content or form different from its neighbors. Conjugation. There are genres that can not exist in one place nearby, at the same time, entertainers may in some cases their own means to rebuild their perception. Contrast. It is the means by which you can quickly focus space after the previous number. If he is held in high temporytmi, there is a need to block this rhythm even higher, or to draw the audience’s attention composure, penetration in implementation [9; 178]. At each stage the number performed in his rhythm, and that ceremonies must ensure that separate rooms alternated rhythm for the concert in general. E. Shapirovskyy in the book «ceremonies and ceremonies» wrote that the entertainer «... pulls the tempo of the concert, reduces pause perekroyuye if you want the rest of the program ... The hall can be disapproving remarks ... he will be able to reply to improvise quickly fun and reflect the impact - victory on his side ... Laughter voltage discharges «[14; 22-23]. Thus, one of the functions is to control the compere temporytmom event. The scope and content of information announcements compere concert themed determined, ideological orientation, genre concert, the level of popularity of the artist or executable work, emotional state space. Board Room of the program is the next function compere that combines the need for full perception concert information. Since the appearance on stage to emcee duties imposed on the mood of the viewer. «There are ceremonies, which are limited to the announcement of the next number, without trying to describe the features of the genre, or artist to prepare the audience to accept the next room, the other - on the contrary, behave as if would entertainers should entertain the audience between numbers and numbers must fill the free area in While entertainer leaves her «[7; 65-66]. «Always worth asking ourselves the question - for what I do? Will it for this concert, actors and audience, or not? «[7; 66]. Above all, be interesting to talk to the audience and a good partner for the participants of the concert. Support common positive emotions should be divided into two types: «the inclusion of the audience in the creative process only» [9; 179] and «the formation of a specific audience tuned in the next issue of perception» [9; 179-180]. The inclusion of the audience in the creative process only created by not only verbal, but also by the active involvement of the audience in the action when they are invited on stage to participate in game applications on an equal footing with the artists. Formation of viewers tune in to a particular perception of the next issue requires complex mutual adjustment, consisting of three components: the «perestroika channels perception and modes of communication, mutual adjustment of personal and public artist, genre perestroika» [9; 180]. Before the actor on the stage, taking part in the program, their entertainer actor means using text ads corresponding emotional mood and his personal attitude configure the appropriate wave viewer perception. «No rest for the weary better attention than an explosion of laughter» [2; 40]. It is appropriate in this case for concert use jokes, sideshow, a method of improvisation, adaptation text based on «conditions» of the concert, the audience engaged in a program of artists and others. Thus, the compere functions include: the logical number of the program; control temporytmom concert; Advertising of numbers of applications; support positive emotional tone of the audience. The functions compere, despite their diversity, are interlinked and binding use - in the genre compere. At the present stage formed the basic components compere with entertainers take account of this genre. B. Ardov in the book «Spoken genres of pop and circus» ceremonies divides into five parts: introduction, business announcements, jokes, reprise, a private room, complete and compere concert [2, 41]. From entertainer determines the final concert plan and its implementation, preparation of the concert - a search for the optimal variant alternation psychological guidelines on audience perception of the works performed. Therefore, based on an open, direct communication as a conversation, the art of true improvisation immediate ceremonies is one of the most difficult kinds of speech genres on stage and profession ceremonies - one of the rarest. Here is an example: III Republican contest entertainers conducted by the Ministry of Culture of the USSR in m. Chernivtsi in September 1982 a competition was attended by professional entertainers, theater, cinema, radio, television, and students of higher and secondary special educational institutions of arts. In conversational genre attended by two. In those days, the press noted: «Two ceremonies! Only two ceremonies at the competition! So the time has come to create a separate pop «Red Book», which make, in addition to representatives of this genre, zvukoimitatoriv, ventrolohiv, politsatyry performers, musical eccentrics who are not seen in Chernivtsi. The idea of pop «Red Book» was in the air and on competition, and therefore to the entertainer S. Kavurova (Dnipropetrovsk Philharmonic), and M. Bit-gentry (Kyiv theater stage) the jury was asked in a fatherly care. Kyiv ceremonies hall captivated from the first appearance on stage in a weird, down to the floor, long coat, profitable winning features of its texture. And monologue «Statement» B. Artist Synova was delivered so nothad written by him. And these outputs it quickly exhaust the repertoire, never tried to improvise - in short, showed that the ceremonies - not his role, albeit at a slope to it. Dnipropetrovsk S. Kavurovu also still far from a true master: the replay, pretending boundless joy, jokes and enjoys «pertsivsko-krokodylivskymy» and orthoepy not all right. [10] Since that time has passed more than 30 years, during which time conversational genre uriznomanitnyvsya, syntezuvavsya with other genres of music. They say that ceremonies are not the one that was 50-70 years. XX century. And there is a certain part of the truth. Agree with the opinion of Ivan Bogdanov, M. Smirnova that, firstly, the main form of pop art - concert - often now a solo popular artists of any genre, which tend to place the compere has. Secondly, almost gone collective concert, called «Salt», a set of various artists in one program, without which it is impossible to present the compere. Thirdly these concerts are mostly on large concert stages, where the size of room and number of public ceremonies not allowed to conduct an impromptu conversation with a hall that is an essential feature of the genre. Yet the ceremonies - a genre of chamber format. So much has disappeared concert spectacular palette, which was demanded of ceremonies. In our time, it should be noted that the compere art in new forms manifests itself on the television stage in the work leading various talk shows and broadcast on the radio when you need improvizational to answer questions of listeners. The work leading various talk shows and games so popular today, often possesses all the attributes compere. So for example compere can determine the trend: the genre takes on new forms, which are embodied in the present. Transformation is happening with conversational genre in the twentieth - early twenty-first century. Can not change the immutable requirements and rules that should follow everyone who wants the arts entertainers. These requirements include: • The entertainer, besides adequate natural data should be a certain level of knowledge, without which it can not be the moral leader of the concert, to the figure, which will be able to establish a real dialogue between artists and audience. • Entertainer professional school should have a dramatic actor, but with a focus on pop style of communication with the public, in terms of acting it should not be below the level of the executive rooms, which he presents to the public. • The entertainer is extremely important literary talent and experience that he could be the author’s own improvisations. • Knowledge of psychology and sociology are necessary for entertainers to understand the uniqueness of the audience at each concert and, where appropriate, - make appropriate adjustments to the program, and sometimes style compere. These are the basic criteria matched will identify opportunities actor who seeks to master this difficult art profession [8, 102-103]. Based on the above, the following conclusions: ceremonies is the art of improvised dialogue, which is the main form of conversation with the audience on the theme of the concert. Ceremonies is one of the main genres of speaking on stage; compere importance in the history of pop was directing viewers in combination with various artists during the concert programs, making those and other creators of a single variety performances. In general we can say that classical language pop genres transformed into new forms, representing himself on television, radio and new forms of concert stage, therefore, have all prospects for future art history studies and can be studied as with theoretical and applied positions.

References 1. Alekseev AG Sereznoe and funny / AG Alekseev. - Moscow: Arts, 1971. - 357 p. 2. Ardov VE Razhovornыe zhanrы эstradы and Circus: Notes writer / VE Ardov. - Moscow: Arts, 1968. - 185 p. 3. Bentsyanov B. And all together This nazыvaetsya - life: Roman bыl / B. I. Bentsyanov. - SPb., 2005. - P. 58-59. 4. IA Bogdanov Setting pop number / IA Bogdanov. - SPb., 2004. 5. Large Encyclopedic Dictionary [electronic resource]. Access: http://enc-dic.com 6. Busel VT Great Dictionary of Modern Ukrainian / VT Busel. - K., Irpen. - Perun, 2005. - 1728 p. 7. Germanova MG Эstradnыy number (conversation. Zhanrы эstradы) / MG Herman. - Moscow: Sov. Russia, 1986. - 91 p. 8. Zaitsev VP Directing pop and mass shows / VP Zaitsev. - K.: Dakor, 2003. - 304 p. 9. Klytyn S.S Estrada Problems of theory, history and technique: Textbook. posobye / SS Klytyn. - AL: Arts, 1987. - 192 p. 10. Pavlichenko G. - Creative masterskaya. Official website [electronic resource]. Access: http://artistes.narod.ru/ master.html 11. V. Smirnov Hudozhestvennaya structure ceremonies and its contemporary problems pop genre: Access [electronic resource]. Access: http: // psibook.com/religion/hudozhestvennaya-struktura-konferansa-i sovremennye-problemy-zhanra.html 12. Smirnov-Sokolsky NP Forty-five years on эstrade: feletonы, articles, vыstuplenyya / N. Smirnov-Sokolsky; Ed. C. Dresden. - Moscow: Arts, 1976. - 382 p. 13. KS Stanislavsky Business actor on himself / KS Stanislavsky // Coll. op. In 5 vols. T. 1. - M., 1954. 14. E. Shapyrovskyy B. ceremonies and ceremonies / E. B. Shapyrovskyy - Moscow: Arts, 1970. - 129 p. 15. Эstrada of. XX Century: Encyclopedia / Otv. Ed. ED Uvarov. - Moscow: Olma-Press, 2004. - 863 p. 16. Эfros NE «Teatrъ» Letuchaya mыsh «NF Balieva. 1908-1918 «Obzorъ desyatylѣtney hudozhestvennoy work pervaho russkago Theater kabarэ. - Moscow: Pechatano vъ hudozhestvennыhъ masterskyhъ magazine «Sun of Russia», 1918.

Summary Outlines issues related to spoken genres on the stage. Clarifies the meaning of «Ceremonies», «entertainer», which is determined based on the specific characteristics and main problematic aspects of the pop genre. Tags: pop, ceremonies, conversational genres on the stage.

Summary Tadlya A. Specific features compere in a conversational genre on stage Variety, as an art form, can be combined in a single concert stage numbers in a wide range of genres, from music, theater, dance to complex synthetic forms, which reveal a variety of expressive means. A special place in pop art take conversational genres. The main conversational genres of pop include: ceremonies (solo, pair, staged), fables, satires (literary, musical), couplet parody (literary, music), pop monologue thumbnail miniatures (staged anecdote), sketch, various genres of literature Variety: oral narrative performance mono (literary, artistic, literary and musical) and poetic theater actor. The article outlines the issues related to spoken genres on the stage. Clarifies the meaning of «ceremonies», «entertainer», which is determined based on the specific characteristics and main problematic aspects of the pop genre. Communication with the hall – is complex and unpredictable, depending on the composition of audiences that its socio-cultural and age characteristics. So is the art of ceremonies improvised dialogue, which is the main form of conversation with the audience on the theme of the concert. Art compere emerged and formed a Parisian cabaret and kafeshantanah in the second half. XIX century. In the late nineteenth – early twentieth century. ceremonies performed in vaudeville theaters, miniatures, which gathered writers, artists, musicians, artists spent time in the evenings impromptu concerts, which were leading or acted funny thumbnail sketches, sketches. In the Russian Empire appearance of ceremonies associated with skits artists of the Moscow Art Theater (MAT) in the early XX century, a theater where N. Baliyev introduced ceremonies. At the present stage compere formed three types: solo, pair and staged. Instsenizovanyy ceremonies - a performance artist, or artists that are communicating with the public do not act on its own behalf and on behalf of the character – masks. It is the language and the game character with his usual specificity, appearance reincarnation at some stage image. The scope and content of information announcements compere concert themed determined, ideological orientation, genre concert, the level of popularity of the artist or executable work, emotional state space. Thus, the ceremonies is the art of improvised dialogue, which is the main form of conversation with the audience on the theme of the concert. Ceremonies is one of the main genres of speaking on stage; compere importance in the history of pop was directing viewers in combination with various artists during the concert programs, making those and other creators of a single variety performances. In general it can be stated, stresses the author that the classical language pop genres today transformed and manifested in new forms, representing himself on television, radio and new forms of concert stage, therefore, have all prospects for future art history studies and can be studied both from theoretical, and with the applied position. Key words: pop, ceremonies, conversational genres on stage, showbiz, modern art, concept, scenario plan, performance, specific features of domestic classic theory questions, miniature, monologue, mono performance, the art of improvised dialogue.

Annotation Tadla O.M. Specific features entertainers in conversational genre on stage The issues related to the conversational genre on the platform. Clarifies the content of the concepts of «entertainers», «entertainer», based on which determines the specific features and the main problem points that pop genre. Keywords: stage, entertainers, conversational genre on the platform. Received 10/11/2014 SECTION III. REVIEWS, REVIEWS, NOTICES

UDC 7.08.2 Y. Dyakunchak COMMONPLACE-ACCORDION REPERTOIRE EDITION OF WESTERN UKRAINE XXI CENTURY

Formulation of the problem. Questions repertoire always relevant. In contrast to the second half. the last century, which carried notodrukuvannya state printing house, with the onset of independence of Ukraine, this process gradually began to decline, due to both economic and social factors. In the twentieth century. begins intensive revival notodrukuvannya private publishers and publishers. This powerful front line leading publishers of Ukraine «Educational book - Bogdan», based in the city. Ternopil and systematically assembles a variety of educational, methodical, scientific literature and music. One of its priorities is notodrukuvannya and in particular - bayanno- accordion movement, so necessary for teachers at various levels. We meet publication and commonplace-accordion repertoire, printed Drohobych, Lviv, Volyn, Transcarpathian publishers that operate on a commercial basis to individual orders compilers or authors collections. But in general, this is a compelling fact enhance creativity commonplace accordion-level in the context of new search-based sustainable traditions. Analysis of the research. Questions repertory software folk instruments rises in the writings of David M. «The history of playing folk instruments» (K., 2005, 2010), A. stuffy «Anatoly Onufrienko - a life dedicated to music» (Drohobych, 2010) and others. The creative legacy of accordion-bayan reveal fundamental research A. Stashevskyi «Vladimir Runchak -» Music of life ... «: Analytical Essay tse accordion creativity» (Lutsk, 2004) «Essays on the history of Ukrainian music for accordion» (Lugansk, 2006), «The great genres in Ukrainian music for accordion (Lugansk, 2007), M. and M. Buldy Cherepanyn» pop Olympus accordion (2008). [ 6], D. Kuzheliev «commonplace creativity Ukrainian composers» (Lviv, 2011); Directories AG Semeshko «commonplace accordion-art Ukraine at the turn of XX-XXI century.» (Ternopil, 2009) and A. and B. stuffy Pizza «Lviv school commonplace accordion-art» (Drohobych, 2010). Some aspects riznozhanrovosti repertoire covering dissertation research Bezuglaya R., G. naked, Goncharov, Oleksiva Y., Y. Chumak [7] A. Shamihova etc .; A. stifling scientific research [1] Yu Dyakunchaka, E. Ivanov [2], Isevycha Yu, S. Karas [3] J. Oleksiva [4] A. Onegin [5], Pizza AB, L . Pasichnyak, Suvorov and others. The purpose of research is the analysis of publishing in Western Ukraine in the context of commonplace layout- accordion repertory XXI century. Presenting main material. Repertory policy-accordion commonplace contemporary art is an integral component of formation, advocacy and social stereotypes performers of different levels and areas of study. Increasingly seeing attraction to pop-jazz, avant-garde, modern. Nevertheless, the performance of the classics remains a priority in the daily work of the artist, shaping his inner world, deep thinking style scale in proportion, establishing it as a musician, artist, personality. In this sense, there is always relevant search new original repertoire, transcriptions and highly transcriptions for bayan and accordion. In 50-80 years of the twentieth century. notodrukuvannya was for public funds actively and purposefully, in fact, went to the free libraries of different levels. Today, this process progresses thanks to the enthusiasm and only sometimes on the initiative of private publishers or patrons. Of course, in the XXI century. You can draw from the repertoire of many Internet sites (goldaccordion, abbia), but the priority remains the original paper printing. Over the last decade witnessing active printing in Ternopil various literature publishing house «Educational book - Bogdan», which belongs weighty niche bayanno- accordion art. Accordingly, this is the direction in Drohobych exercise publishing «Dedicated» and «Circle» in Ukraine - «TeRus» in Uzhgorod - «Karpaty», Lutsk - «Intermediate» and so on. Sharing musical material occurs in a variety of teaching seminars, creative projects, artistic forums Drohobych, Kirovograd, Odessa, Kyiv. For example, under the artistic projects Drohobych systematically is the presentation of educational materials for accordion, accordion, bandura ensembles and orchestras of folk instruments and it allows teachers to expand the horizons of contemporary original repertoire for all tastes and levels of education, systematically replenish their private library to be in line with the developments of folk and instrumental art of the XXI century. Academic direction repertory direction in line with the original music draws series «Concert pieces for bayan (accordion)» 8 editions printed in the publishing house «Educational book - Bogdan» m. Ternopil during 2004-2010. The palette of composers, presented in a series of highly symbolic is: V. Zubytsky (Vol. 1, 2, 2004) works with «I love you, Pesaro,» «Fiddler, playing and dancing,» concert piece «Dedication A. Piazzolla», «concert partyta number 2»; V. Gubanov (Vol. 3, 2004) - Retro Suite (1. Waltz, 2. «When it rains,» 3. «Happy Weekend») and «Jazz play»; V. Vlasov (Vol. 4, 2005) - «Concert Triptych», «Improvisation and Toccata»; EA Kuraev (Vol. 5, 2006) - Prelude, «Bassoostynato,» «Intermezzo,» Paraphrase on the Russian folk song «Vdol on Pyterskoy»; A. Sapalov (Vol. 6, 2007) - Variations on Handel, Children’s Suite number 3, «Melodies of old records», «Karelian-Finnish polka»; B. Halchanskyy (Vol. 7, 2010) - «Ukrainian watercolor» Concert Variations on the theme of Ukrainian folk song «Oh cherries under» Concert Variations on a Ukrainian. theme «deep well» Fantasia on Ukrainian folk song «Oh no worlds misyachenku» Ukrainian musical essay on the theme «In Kharkov rain falls»; A. Chuiev (Whirlpool. 8, 2010) - Adagio, Romance, «Mariupol Waltz», «Orhistriko», «Balkan souvenir» Valse-Impromptu, Tokat, Paraphrase on Ukrainian themes. Next series - «Bayan in concert», consisting of 11 issues (2007-2013 g.), Is a continuation of the presentation of the best examples of Ukrainian and foreign-commonplace original accordion classics and a number of transcriptions. Music editors appointed phenomenon known associates Semeshko A., A. Kmit, Zhukov promotes constructive approach to the implementation of a work like the accordion and accordion. Here are composers: B. Zubytsky (Prelude and Toccata), E. Derbenko («Spanish legend,» «Kaleidoscope Funny», «Burlesque»), V. Dikusar («Nostalgia» «Reflections»), A. Piazzolla (Tango Five), A. On Yuen Kean («lady», «Little romantic triptych»), J. C. Bach (Prelude and Fugue on BACH, Partyta & B -dur, Fantasia and Fugue in d-moll, «Chaconne»), A. Dress (Adagio and Allegro, Sonata a-moll), Brahms («Hungarian Dance number 6»), P. Makkonen («Flight over time»), LA Reid (Farewell Waltz) S. Frank (six pieces), Alexander Timoshenko («Podolsky Rhapsody»), V. Vlasov («Odessa rap», «Sounds of Jazz,» «Today celebration», «Footprints in the snow»), A. Gaidenko ( Retro tangos, Sonata number 2), A. Biloshytskyy (two improvisation in jazz- retro «The Spanish-style» Fantasy on themes Capriccio-J. Gershwin), A. Peterson (suite «Kanadiana»), V. Chernikov (Nocturne), M. Kukushkin (Improvisation), Petrov (Waltz), A. Byzov («Concert fantasy» Sonata e-moll), E. Mehyul (Sonata A-dur), A. Muntean («Morning», «Firefly»), B. Myronchuk («Concert samba», «Bossa Nova») V. Novikov (Concert Fantasy «Friendship» Samba «Carnival,» «Gypsy paraphrase»), D. Scarlatti (Sanatae-moll, E-dur), J. B. Peshetti (Sonata c- moll), ME Bossi (Scherzo, «AveMaria»), A. Nyzhnyk (Sonata), J. Meysl (Toccata), V. Podgorny (Improvisation, Retro fantasy), KF Pitch (Fantasy and Fugue), V. Semenov («Dedication», «Prophetic Dream»), G. Oysters («Prelude and Fugue memory Alisher Navoi»), S. Voitenko («Revelation»), LA Reid (Farewell Waltz, arr. A. Biloshytskoho), G. Dinicu («Spring dance», arr. M. Katsuni), Paganini (Caprice number 15), A. Ast’yer (Fantasia e-moll), Vl. Zolotarev («Rondo-kaprichiozo»). A number of these works built in various styles and tastes of their authors, academic and contemporary music, elements of the avant-garde, jazz standards and more. Modern type instrument, with its magnificent art and vyrazovyh amplitude, technical and timbre-acoustic qualities, combined with a powerful arsenal of specifically-performing assets, enabling accordionist repertoire involving music samples inexhaustible number of different directions and styles, given the fundamentally opposing artistic tastes [3; 100]. In the works of contemporary Ukrainian commonplace (and foreign - YD) technology modernistic composers composition is not an end in itself turned into a fantasy, and subject to the content of the work, disclosure imaginative plans. Modern means of expression organically combines folk sources and individual characteristics of composer’s thinking [4; 108]. The attraction of modern accordion, accordion into the mainstream of Jazz music, encourages «Educational book - Bogdan» in the publication series «Variety and jazz pieces for bayan (accordion)» 6 editions 2011-2012. Regulation and performing edition made famous teacher -metodyst P. Serotyuk. Thus, the cover layout work Yakushenko I., P. Frossini («Funny gentleman,» Tango Concert «Love smiles»), Art Van Damme - G. Lonhfrena («Boogie Woogie»), Jean Lapayye - A. Astyera (« Autumn nostalgia «), P. Pitstsyhoni (Waltz musette» Light and Shadows «), Abreu A. (Samba» Tico-Tico «in arr. C. Karotstsa), P. Frossini (« Marypozita «) J. Gershwin M. Rodriguez - Charles Magnani (Tango «Kumparsita»), M. Tabandysa - R. Bazhylina (Waltz musette), A. Muzykini - R. Galliano («Song for Jo») J. Kern («Smoke») K. Tomeyna, H. Tizola - D. Ellington («Caravan»), P. Norbakka (Tango «moment of ecstasy»), R. Galliano (Waltz «Margot») and others. It performers pop-jazz music or, as a rule, «variety» is widely practiced in some nominations in various competitive events. This requires the possession of different styles like jazz music, a variety of noise techniques, modern commonplace tricks and manners pop sensation performance, particularly in the genre of «musette». The interpretation of the works of pop-jazz - a special intonation area that combines composer styletvorennya with style of performance. Each musician is necessary to mastering the basics of jazz interpretation, technical capabilities and the most important tool - the development of stylistic directions Jazz music and art play in their professional performance [6; 172]. Jazz line fills series «Concert pieces in styles of popular music and jazz,» which includes several issues during the ordering and performing music and edited Besfamilnova C., A. and A. Semeshko Kmit (Vol. 1-2). «Easy music for accordion (bayan)» (2006) represents the work of R. Bazhylina, including works «Caramel auction» «Russian autumn», «Moscow syndrome», «Leaving», «stubborn sheep», «Funny reg», «History Cowboy,» «Waiting,» «Real Love», «Going Places accordion», «Colors of summer evening», «Cylinder». By Vol. 3 «jazz standards» (2007) arranged for accordion and accordion V. Haperskoho D. Kramer songs are «dancing violinist», «Style-mosaic», L. Newman «Again,» H. Silver «Bagpipe» A . Prevena «In the spirit of the blues,» Mr. Desmond «Let’s try five» and so on. Pop panorama continues collection «French light music (variety) for accordion (accordion) «(2012), which includes the following works: Waltz» Fugitive «M. Ferrero,» Accordion - samba « «Fantasy Polka» by J. Peyronnin, Waltz «Tenderness» V. Vershuren, Pasodobl «Senoryta Rosita» J. Nicola, «Fast» F. Gardone, Pasodobl «Alhambra» A. Huard, polka Fantasy «Crystal bead» and Jean Hamel al. A significant achievements «Educational book - Bogdan» is the production of «Selected jazz compositions for accordion (bayan)» F. Morocco (2012) when ordering and performing Semeshko and edited by B. pies. This includes both original compositions author («Let ten», «Song for Nancy,» «Gentle jazz waltz,» «Autumn in Paris») and author’s compositions arranged E. Hagen «Harlem Nocturne» and F. Lehar «The lonely depths of the soul.» The next series of «Variety and jazz works» was founded in 2004 and represents a «pop pieces for bayan (accordion)» 3 no. (2006), which included improvements Derbenko E. (Retro Suite: March, Waltz, Gallop, «Failure date» Improvisation, Retro impromptu, Melancholic Waltz, Impromptu «P’yattstsolomaniya», Oriental painting «Lone Camel» Impromptu «Gypsy uhorka», «The Expendables fingers», «Padespan» Impromptu); Yuri Peshkov work «Harlequin», «Carnival», «Samba» in the collection «Plays for Accordion», Vol. 1 (2004); «Most pieces for bayan (accordion)» (2004), among them - Waltz musette «Indifference» E. Moray - J. Colombo «Star Waltz» A. Pozharsky, «Following the bass», «Odnostoronnыy movement», «Nonino» by A. Piazzolla. Appeal to the works of composers of jazz legends ukrayinsokoyi V. Vlasov school publishing house «Educational book - Bogdan» is a landmark for the modern musician, accordionist (accordion). After his work highlights the vision tools through the prism of academic performance in today’s modern light-garde and jazz. A series of «Panorama of contemporary repertoire for bayan (accordion)» represented suite «Five ideas about the country Gulag» (2004), a collection of «In the labyrinth of the soul, or Terra Incognita» (2005), which included works «in labyrinths of the soul, or Terra Incognita», «telephone conversation «,» In the constellation Centaurus. « At the same time, the artist offers «Pieces for bayan (accordion) in the ensemble and chamber orchestra (score)» (2010), which refers Concert triptych on the picture Ieronima Bosch «Judgment», «Infinito», «leaf from OdessaAlbum «. Creative tandem of V. Vlasov - V. Murza known both in Ukraine and abroad. After B. Mirza is the first performer of a number of works of the maestro as the first collection of «playing Vladimir Murza» (2012) composed of works by V. Vlasov recent years. This - «midnight», «We play jazz» «Concert Tango» concert composer processing on works by Jobim «Girl with Ipanimy» and A. Tsfasman «Failed to date.» By definition, a researcher works of Vladimir Vlasov, Yuri Chumak «commonplace work of V. Vlasov - the central and most important works of the artist in different genres, performing long become part of the repertoire of domestic and foreign performers» [7; 162]. However, according to experts, in the person of Vladimir Murza Vladimir Vlasov managed to find talented, original thinking, sensitive composer interpreter plan [6; 135]. Creativity young composer Lviv school of J. Olesiva publishing presents collections «Concert pieces for bayan» (2012), which included «Elegy,» «Revelation,» Toccata «Sonata- ballad», «Let’sruninjazz», «In the mood jazz» and «Night on the meadow. Musical illustrations to Alexander Oles dramatic poem «(2013). Drohobych is fruitful activity enthusiasts bayan (accordion) A. stuffy, AB Pizza, V. Shafety, acting editors-compilers series of collections of research problems tse accordion composers trends Lviv school. Thus, in the context of scientific and artistic project «Lviv school commonplace accordion-art» [1] A. stuffy and B. Pytsembulo based series of publications «composer Lviv tse accordion school» (2010-2012.), Published in Drohobych publishing house «Dedicated». Today the world saw three issues of the series, which inspired the layout of author manuscripts and published for the first time. It works, for solo accordion, accordion - and Fugue A. Nikiforuka Children’s Suite, Two Preludes A. Kolosovskii, Concerto for piano and accordion «Sarcasm» A. Batrshyna, Rhapsody and Sonatina A. Onufrienko, Children’s suite «Carpathian patterns» E. Mantulyeva «Dedication Antonio Vivaldi» I. Onysiva «Thumbnail joke» and two polyphonic pieces J. Oleksiva «back, Ukraine «V. Stetsuna the words of O. Kononenko,» Harmonyka, harmonyka! «Oberyuhtinana words of M. Block, Variations on a Ukrainian folk song» neighbor «M. Korchynskyi» Prelude memory of Vladislav Zolotarev «V. salmon, Paraphrase on Ukrainian folk song «Oh, two oaks on the mountain» A. Martsenyuk, «Consuello» V. Salii, waltz-musette «Forget» M. Olkhovska, Etudes number 1, 2 O. Lychenka; for ensemble Bayan Accordion - Processing of Ukrainian folk song «Black brows, brown eyes» E. Mantulyeva, «Dialogue» K. Sokolov, «Smile» R. Stahniva «gust» and «rehearsals» A. Onufrienko, «Journey to the East» I. Onysiva Ukrainian folk song in processing I. Myskiva, Lane. A. stuffy «With cheese cakes», «Adios Nonino» and «Tanguango» A. Piazzolla arranged by V. sturgeon and others. The actual work of V. Vlasov appears that the author of the manuscript first appeared in Drohobych publishing arrangement under A. and B. Shafety stuffy. By «Pedagogical repertoire accordionist» (2011) issued by editorial and publishing department DDPU them. Franko include «Jazz Suite for Bayan» («Improvisation», «Bossa Nova», «Dance sketch», «Melody»), «Winter sketch», «Invitation to Dance», «The play is in the form of a French waltz.» The following collection of the artist - «Children’s Album (cycle plays for elective bayan)» (2012) published by the publishing house «Shvydkodruk» includes guidance material, which is based on 14 plays of which 14 related to studies. The main factor presents a visual reproduction of musical text as repertoire policy, which is focused on our intelligence, is the predominant basis for student-instrumentalist, teacher or concert performer, confirming the value of the new creative flow notodrukuvannya result of its unconditional use. As emphasized A. Onegin: «The main objective of playing an instrument is highly performance of musical works» [5; 104]. Sensory model modern accordion, accordion, playing as a crucial element of logic elements chuttyevo- musical fabric, high level of handling dynamic audio line art image display brightness and variety dashed palette, virtuosity, polyphony and stereofonichnist, timbre and artistic diversity while maintaining immanent makes it sound ideal tool appealing to a wide audience perception itself [2; 33]. Conclusions. Repertory policy-accordion links commonplace today, widely covered in publishing Ternopil, Drohobych, represents a variety of layout, enabling musicians to learn different styles of music according to their level of training. This is an important factor in shaping the performance skills, a sense of artistic image, era, style, genre writing like. The repertoire is composed according to classical estradno- jazz, contemporary, modern and avant-garde direction, giving a wide field of music selection for every taste and level of difficulty.

References 1. A. Scientific and stuffy art project «Lviv school commonplace accordion-art» in the context of commonplace- accordion movement in Western Ukraine / stuffy A., B. Pyts // musicological studies that in- Arts Wolin. nat. Univ them. Lesi Ukrainian and Nat. muses. Academy of Ukraine. Tchaikovsky: 2. Coll. Science. pr. / [ed. count. Rozghok VI, Posvalyuk VT and others. ; compilation. AI Komenda]. - Lutsk, Volyn. nat. University of them. Ukrainian Lesya, 2011. - Vol. 8. - P. 47-57. 3. E. Ivanov Ukrainian academic commonplace-accordion art. Problems evolution / E. Ivanov // phenomenon in the school musical and performing arts, abstracts Intern. scientific-teoret. Conf. (Kyiv, Namu them. Tchaikovsky, March 22-23. 2005) / [red.-stop. M. Davydov, V. Sumarokova]. - K., 2000. - P. 33-34. 4. S. Karas on trends commonplace akordennoho-art and the formation of repertoire / S. Karas // Current Issues commonplace-accordion performance and art pedagogy in schools: Coll. stat. and add. on the mat. III Intern. scientific- practic. Conf. (26-28 December 2005) / [red.-stop. and ed. by vol. A. Stashevskyi]. - Lugansk: Knowledge, 2006. - Vol. 2. - P. 98-104. 5. Alex Y. On some stylistic trends in contemporary music for accordion Ukrainian Composers / J. Oleksiv // Current Issues commonplace-accordion performance and pedagogy in art schools: Coll. stat. and add. on the mat. III between drug. scientific-practic. Conf. (26-28 Dec. 2005) / [red.- emphasis. and ed. by vol. AJ Stashevskyi]. - Lugansk: Knowledge, 2006. - Vol. 2. - P. 104-109. 6. Onegin A. Work on the repertoire / A Onegin // Bayan and bayanystы: Sat. method. Art. / [Comp. and Society. Ed. Yuri Akimov]. - Moscow: Sov. Composite., 1974. - Part 2. - P. 120-128. 7. M. Cherepanyn accordion pop Olympus: monograph / AM Cherepanyn, M. Bulda. - Ivano Frankovsk: Lily-HB, 2008. - 256 p. 8. Yuri Chumak Viktor Vlasov Arts commonplace in the context of accordion music-Ukraine: Dis. ...candidate. mystv .: spec. 17.00.03 - «Art of Music» / Yuri Chumak. - A., 2014. - 247 p.

Summary Analyzes trends Noto-publishers of Western Ukraine: «Educational book - Bogdan» (Ternopil) and «Dedicated» (Drohobych) in the context of commonplace-accordion repertoire policies; presents a series of classical, pop, jazz, modern and avant-garde music, creativity V. Vlasov, Ye Derbenko, J. Oleksiva, teaching and repertory pieces of music composing software revision representatives of Lviv tse accordion school. Keywords: accordion, accordion, art, publishing, series, streamline, classical, pop, jazz, avant-garde.

Summary Dyakunchak Y. Essays commonplace, accordion repertoire in publications in Western Ukraine XXI century The article emphasized the importance of printed music repertoire and its actual suspension late twentieth stoltttya. In the twentieth century revival begins intensive notodrukuvannya private publishers and publishers. This powerful front line leading publishers of Ukraine «Educational book – Bogdan», based in the city. Ternopil and systematically assembles a variety of educational, methodical, scientific literature and music. One of its priorities is notodrukuvannya and in particular – commonplace-accordion literature. There publication commonplace-accordion repertoire, printed Drohobych, Lviv, Volyn, Transcarpathian publishers that operate on a commercial basis to individual orders compilers or authors collections. But in general, this is a compelling fact enhance creativity commonplace accordion-level in the context of new search-based sustainable traditions. One of its priorities is notodrukuvannya and in particular - commonplace-accordion literature. Analyzes trends Noto-publishers of Western Ukraine: «Educational book – Bogdan» (Ternopil) and «Dedicated» (Drohobych) in the context of commonplace-accordion repertoire policies; are considered a series of classical, pop, jazz, modern and avant- garde music, creativity V. Vlasov, Ye Derbenko, J. Oleksiva, teaching and repertory pieces of music composing software revision representatives of Lviv tse accordion school. A detailed analysis published in various series of pieces for bayan accordion and different difficulty levels as the original guidance prepared by domestic composers such translations and music literature that allows to know the repertoire and actively used in educational and concert practice. Emphasized the leading compiler and editor of the literature. Analyzed various series, focused on today’s most popular pop-jazz direction. In this regard the thematic content analysis repertory collections such as «The French light music». Analyzed a collection of jazz compositions for accordion and accordion, organized by local teachers, which includes both copyrighted works and translations. Considerable amount of published literature publishers mentioned above are duets or pieces for instrumental ensembles that greatly expand the potential of these tools Equally important is the printing and publishing houses collections of Western Ukraine series of problems composers research trends tse accordion school of Lviv and in this paper in detail for this series. Repertory policy-accordion links commonplace today, widely covered in publishing Ternopil, Drohobych, represents a variety of layout, enabling musicians to learn different styles of music according to their level of training. This is an important factor in shaping the performance skills, a sense of artistic image, era, style, genre writing like. The repertoire is composed according to classic, pop-jazz, contemporary, modern and avant-garde direction, giving a wide field of music selection for every taste and level of difficulty. Key words: accordion, accordion, creativity, domestic publishing, music series, streamline, classical, pop, jazz, avant-garde, a special art-literature, repertoire, printed music, educational and concert repertoire, transcriptions for bayan and accordion, composer, performing skills, artistic image.

Annotation Dyakunchak Y. Bayanno Yu-accordion repertoire in editions of Western Ukraine of the XXI century Analyzed trends Noto publications in Western Ukraine: «Educational book - Bogdan» (Ternopil) and «Dedicated» (Drohobych) in the context of bayanno-akordeonnoy repertoire policy: the series of classical, pop, jazz, modern and avant-garde music, creativity Vlasova, E. Derbenko, J. Oleksiva, pieces of music teaching and repertory ensure kompozitorskogo Heritage representatives of Lviv bayan school. Keywords: accordion, accordion, creativity, publishing series, drawing, classical and pop music, jazz, avant-garde. Received 07/11/2014

UDC 78.78.087.2 A. Stuffy, A. Bozhenskyy HOW DROHOBYCH SCIENTIFIC INSTITUTIONS COMMONPLACE ACCORDION-MOTION UKRAINE XXI CENTURY

Drohobych at the turn of the century actively entered the mainstream and commonplace, People’s accordion instrumental art of Ukraine. From his time in Drohobych (70-80 years of the twentieth century.) Were qualifying rounds in national and international competitions held zonal competition bayanistiv- Accordion Western Ukraine (1989) and in the second half. 90th. Contest of young performers on folk instruments «Young Voices» (1997). The beginning of the new millennium was marked today well-known at home and abroad Ukrainian contest of folk instruments named. A. Onufrienko and «Patterns Carpathians» and international competition Bayan Accordion «Perpetuum mobile», in which organized scientific conferences, workshops, demonstration lessons, concerts by famous artists and bands that ultimately becomes an important factor in promotion and development of Ukrainian folk instrumental art. It is in Drohobych 2004-2005. Is launched research and art project «Lviv school commonplace accordion-art» (by A. stuffy, Pyts B., S. Karas) and the project «Young generation Lviv commonplace accordion-school» (2008. ) which unified all areas of scientific research. Thus, scientific institutions based in two artistic cells Drohobych - Music School. Barvinskyi and musical-pedagogical faculty of Pedagogical University. Franko. Research commonplace accordion-edge motion A. stuffy highlight monograph [9] and by his guides in collaboration with B. Pytsem [13, 14]; A. Bozhenskoho publications [2, 3], N. Hataylo A. stuffy [11] Dyakunchaka Yu, Yu Isevycha, L. Martyniva, I. Okolovycha [17] B. Pizza, B. Syuty [22] , A. Sergienko, I. Frayta, J. Chumak, etc .; individual exploration appointed phenomenon reveal the publication of David [5; 498-510; 6] M. Imhanytskoho A. Stashevskyi A. Semeshko [21; 200-204] Suvorov, J. Oleksiva, S. Karas, V. Runchak etc .; notes in the press A.Vlasuk, M. Karalyus, V. Kasperevycha, I. Kilyka, E. Mantulyeva, I. Marynyak, M. Myhatsya, R. Pukas, K. Syatetskoho, V. Sobko A. Shepetuhy and others. ; online edition Bozhenskoho A., A. stuffy, AB Pizza, V. Shafety. Some of the orchestral ensemble-performance Drohobych and individual creative achievements are analyzed in the dissertation Drozdy1 P., A. Shamihova2, L. Pasichnyak3. Today, based on scientific degree applicants department of folk musical instruments and vocals DDPU them. R. Franko Kundysa [15] and V. Shafety [24] research priorities laid segments formation, development and promotion of collective and solo music on the accordion, accordion Drohobych, conducted analytical line teachers, scientific methods and creative software, the main levers bayan accordion-operation in the socio cultural edge second half. XX - XXI century. The purpose of intelligence is to highlight scientific achievements of accordionists Accordion Drohobych as an integral whole Ukrainian academic school playing on folk instruments. Since 2000 in Drohobych active in notodrukuvannya for accordion, accordion and ensemble, orchestral art for their participation. This aspect of weighty importance to bayanno- accordion cell, which is a methodical association of folk instruments, which, in turn, is the dominant component of the department of folk musical instruments and vocal music and the Faculty of Education University of Drohobych GPU. Franko. Representatives cell (A. stuffy, B. Pyts, I. Frayt, E. Marchenko, V. Saliy, Yuri Chumak, V. Shafeta) known in Ukraine commonplace priorities researchers of different genres, and People’s accordion instrumental art. Accordionists Accordion this university is organized scientific conferences, performing competitions, seminars, master classes and concerts, known as the national and international levels. They - associates artistic life of the region, for a long time in pick-Drohobych Kotermak representatives commonplace-accordion community of Ukraine, near and far abroad. Therefore, m. Drogobych in recent years, by definition Academician M. Davydov, has become a «Mecca folk instrumental art of Ukraine» [6; 3]. A large part provided methodological support this process. Accordionists Accordion prepared a number of guidelines to works made in the textbooks: A. Onufrienko «Album accordionist.» Vol. 1 (2005), «Teaching accordionist repertoire» (2006), V. Shlyubyk «Teaching accordionist repertoire» (2010); A. guidelines stuffy «Three modern dance for bayan and percussion duo»; Recommendations Shafety V. (2009); «Children’s Album accordionist (accordion),» V. Recommendations Sali (2011); R. Stahniv «Teaching repertoire for folk instruments» (2010), V. Vlasov «Children’s album: a cycle of pieces for ready-elective bayan»; guidelines Yuri Chumak (2012). At the same time they are the authors of guidelines for universities of culture and arts and II levels of accreditation, «the orchestra of folk instruments on the example of» Fantasy «A. Onufrienko» (2006) [12], carry out methodical performing analysis works - Variations Thread Lemko folk song «we came Ked map» [8; 60-65] for the duo accordionists and orchestra of folk instruments Ukrainian Viktor Chumak, «Passacaglia and Fugue for organ Chr. Kushnarev, «» Poems «for orchestra of folk instruments A. Onufrienko. In recent years, they are sorted and printed: teaching and repertory collections «Prostitutes wind, on Vkrainu: of Ukrainian folk songs translated for bayan» (emphasis. E. Marchenko, I. Frayt) «Verkhovyna». Works for duo and trio bayan (emphasis. Mantulyev E., E. Marchenko, I. Frayt), «the composer Lviv tse accordion school». Vol. 1-3 (emphasis. A. and B. stuffy Pyts) Pukshin J. «Teaching repertoire for folk instruments» (emphasis. A. stuffy, Shafeta V., V. Saliy) Vlasov B. «Teaching accordionist repertoire ‘( focus. A. stuffy, V. Shafeta), «Teaching repertoire for orchestra (ensemble) folk instruments» (emphasis authoritarian. A. stuffy, V. Shafeta), etc .; compositions, which include - original works kompozytoriv- educators and practitioners (E. Mantulyeva, B. Hyvelya, V. Chumak, J. Oleksiva, V. Salii, R. Stahniva) tracks the Western Ukraine (A. Onufrienko, M. Oberyuhtina, I. Myskiva A. Nikiforuka, L. Kolosovsky, J. Oleksiva A. Martsenyuk, Korchynskyi M., K. Sokolov, V. Herasymchuk, A. Lychenka etc.), Bayan Accordion Ukraine and abroad (in . Vlasova, Vladimir Balik, V. Bonakova A. Batrshyna, W. Godlewski, V. Vitskova etc.), transcriptions of classical and contemporary music (JS Bach, Vivaldi, Mozart, Haydn , D. Scarlatti, Brahms, J. Rossini, Lysenko, D. Sichinskiy, V. Gubanov, E. Derbenko, V. Samofalov etc.). It is also important that the publication precedes Music Notation sound scientific and bots, which are a consequence of the opening of new names, new creative seams. Yes, art. off. department of folk musical instruments and vocals V. Shafeta in the process of dissertation research work revealed in his time a famous accordionist Lviv K. Sokolov and his colleagues - Yuri Chumak - exploring the unknown pages of works of Vladimir Vlasov; R. Kundys - composition Korchynskyi M., A. Martsenyuk and B. Pyts - A. Batrshyna A. stuffy - B. Hyvelya A. Nikiforuka, Lychenka O., E. Mantulyeva, V. Chumak and others. The repertoire of contemporary Ukrainian composers for orchestra and ensembles of folk instruments represent an important area of creative experiment, which, along with traditional genres and recognized artistic achievements, there are processes that show expansion genre palette complications vyrazovyh means impacts professionalization of music education and the nature of performance practice solo and ensemble playing. Knowledge «Carpathian bayan duo» consisting of teachers, trainers Drohobych Musical College - V. Chumak and S. Maximov part of his own repertoire of transcription and arrangement worked out and compiled in the manual in 2 parts «Teaching ensemble repertoire for bayan» (with repertoire «Precarpathian duo») [18, 19]. Works of classical, contemporary and pop music, arrangements of folk songs filled with a variety of performing techniques and stylistic interpretation, tested artists on concert stages Ukraine, Europe, CIS and the USA. Guidelines set V. Chumak, promote faster learning of musical fabric, revealing features perform various modern techniques appear theoretical base in the education of musician ensemble. An important contribution to ensuring methodical literature repertory performed instrumental trio «Harmony» in the faculty of Drohobych LGU them. Franko Barvinskyi I. Turkanykom (violin), Sergey (accordion) and Oksana (violin) Maksimov [16]. Team Members along with the phenomenal performing style of interpretation, active work in the composer’s direction (shifting and arranged music for his own team), present their creative and performance skills in a variety of venues Ukraine and abroad. Kompozytsiyi4 translated and arranged the team members, as approved by artists, and other performers at festivals and competitions concerts. Draws attention Apps theoretical part and in which B. Shafetoyu submitted materials for the development and promotion of Lviv music ensemble featuring accordion and accordion, covering a wide range time (from pre-war years of the twentieth century. To this day). «An important contribution of the work is in its dvobichnosti first - concert repertoire; second - Historical and methodical material. These two components are active as teachers to implement teaching methods violin or folk instruments and ensemble class teachers «[16; 4-5]. Protected dissertation research stuffy A., B. and Sally J. Chumak from music and instrumental and commonplace accordion-art and pedagogy became dominant scientific achievements Drohobych. A. stifling exploration in the thesis «Methods of activation of creative activity of students of pedagogical universities in the musical and instrumental training» (K, 2006) The deliberate involvement of students in the elementary composition activity. The author proved three stages of activation of creative activity of students in the musical training, «creative imitation», «pre-defined work» and «free creativity». The main provisions of the scientist served in Textbook [10], worked out on the basis of a thesis (2008). Scientific studies V. Salii reaching study on methodological support work on the musical way in teaching teenagers playing on bayan (accordion) [12]. The author theoretically grounded and experimentally tested every stage of work on the musical way, based on an integrative approach and involves the use of innovative forms «urokiv- images» based on rhythmic drama. Valuable is that research is finding its use, was the basis for writing the monograph «Methods of work on the musical way in teaching teenagers playing on bayan (accordion)» (2013). One recent dissertation research in the field described above is the work of J. Chumak «Creativity in context Victor Vlasov commonplace accordion music-Ukraine» (2014) [23]. The author analyzes the complex phased creativity V. Vlasov - concert performer, teacher, author and music-teaching critical works and public figure in diverse forms in the context of national instrumental art of Ukraine. Continuing the strategic line of the academic study of folk instrumental art of Ukraine Academician M. Davydov, grounded in the fundamental work «History of Performance on National Instruments (Ukrainian academic school)» (K., 2005), picked up by Assoc. A. Stashevskyi in «Essays on the history of Ukrainian music for accordion» (Lugansk, 2006) and prof. A. Semeshko a «commonplace accordion-art Ukraine at the turn of XX-XXI centuries» (Ternopil, 2009), A. stuffy and B. Pyts appeal to the regional dimension of the problem - Lviv bayanno- accordion school in the directory «Lviv school bayanno- accordion art «[14]. In an attempt to systematize directory commonplace accordion-art (education, performance, creativity) associated with the named school to enhance awareness of the process of identity development study of the history, impact and relationship to other schools, the life and works of prominent representatives and the role and place of Ukrainian art in the region and world musical culture in general. The first chapter is devoted to the personalities of performers, teachers, composers, educated Lviv commonplace-accordion school (those who graduated from the Lviv Conservatory - now - Music Academy and their pupils, students, pupils, etc. - no matter in which region and educational musical institution they work). Here famous artists, teacher, conductor, musical and public figures, organizers of musical life, modest administrators and teachers who by their work are raising new generations. The second section is devoted to ensembles and orchestras featuring accordion, accordion. Third, fourth and fifth sections - scientific and methodical, creative and performing aspects of the school. They are filled with materials of conferences, competitions, scientific and musical collections, organized and collected as a result of research work within the project «Lviv commonplace accordion-school.» In the Annexes concentrated enormous amount of illustrative material (photographs, posters, programs / brochures, certificates / diplomas, etc.) that exemplifies achievement commonplace accordion-Lviv art school. By definition Syuty B. Doctor of Arts: «... Reference ... is extremely useful as a community asset Touring accordionists and accordion and musicians and musicologists teachers» [22; 9]. Special attention is given scientific coverage figures of classical composers commonplace repertoire V. Zolotarev. The modifications in the direction of teaching of BA is organizing Pytsom in author’s edition Vladimir Balik life and career of Vladimir Zolotarev in the form of performance analysis and reconstruction works for accordion [1]. The work, along with solving specific problems choosing fingerings, ahohiky, dynamics, registers etc., Dedicated to the authentic reproduction of the author’s text and identify discrepancies, and - the nature and definition mihovedennya changes in the direction of Micah Children’s Suite, «leaves from the diary» (Section 1), Sonata number 3, «five compositions» (Section 2), «Ispaniadi» and Sonata № 1 (Section 3). A complete understanding of the life and work of the composer’s opus reveals monographic «Vladislav Zolotarev materials for the biography» (red.-compilation. Vladimir Balik, general ed. B. Pizza) [4]. In the book of collected literary heritage available Zolotarev, including his letters (1962, 1965- 1975), some literary works, diaries, notebooks, and some articles and memoirs about the founder of the original repertoire for multi-timbre ready-elective bayan. In the context of our attention is drawn to the question: • scientific-practical conference «Lviv commonplace school and its outstanding representatives» (2005, 2006), «Academic folk instrumental art and vocal school of Lviv region» (2005), «the composer Ukraine for folk instruments» (2006 , 2011-2014 gg.) «People instrumental art at the turn of XX-XXI century.» (2007, 2009-2013.) «Music education Ukraine: problems of theory, methodology, practice» (2008-2014.); • International («city Chords», 2006; «Perpetuum mobile» 2008-2014 biennium.) And Nationwide («Carpathian Patterns», 2005, 2008, 2010-2013.) Contests Bayan and Accordion Competition of folk instruments named. Onufrienko A. (2007, 2009, 2012). In these questions of art are emphasized the importance of popular actions of Lviv tse accordion and folk instrumental schools and Drohobych as an integral whole in the context of national and international scope, analyzes and highlights creative portraits of prominent representatives and founders, teams, individual artists, scientific, methodical and educational Repertory achievements of different generations and schools of the region. In particular, the scientific conference attracted scholars, teachers, musicologists from Ukraine, Russia, Belarus, Poland, Lithuania, Latvia, Kazakhstan, Germany, USA, Moldova, Croatia, highlighting the issues ornaolohiyi, creative aspects of performing musicology and music pedagogy, People’s instrumental art in general. In Drohobych in the Competition category ensemble first introduced various types (homogeneous and mixed ensembles such small and larger forms) and innovation was the category «Orchestra of Folk Instruments», which for nine years, was attended by over 40 orchestras primary and specialized institutions of I-IV levels of accreditation (Lviv, Ternopil, Volyn, Transcarpathian, Vinnitsa, Kherson, Luhansk, Donetsk, Rivne, Mykolaiv, Kyiv, Chernihiv, Sumy region.) c. Simferopol Crimea, Belarus, Latvia, Russia [11]. Organizational work that is rotation-competitive festival movement, science and art projects, live performances sociocultural raises important factor today. These factors contribute to the recognition of Drohobych as in different- artistic circles of Ukraine and the establishment of a global musicological functioning. Representatives of regional organized artistic forums that gather many representatives of the creative community in Ukraine and abroad (USA, Russia, Belarus, Bashkortostan, Latvia, Lithuania, Moldova, Czech Republic, Slovakia, Italy, Croatia, Serbia) as in line with the commonplace, accordion and folk -instrumentalnoho art. Thus, teaching repertoire, scientific and methodological developments commonplace accordion-cell Drohobych is multifaceted and widespread, accepted in scientific circles in Ukraine and abroad, systematically used in the teaching process is an integral part of an integrated system of academic folk instrumental art in the context of sociocultural Ukraine XXI century.

Notices 1 Drozd AP phenomenon of collective folk instrumental music Western region: Thesis. Thesis. ... Candidate. Art. : 17.00.03 - «Art of Music» / P. Drozd. - L., 2010. - 20 p. 2 A. Features Shamihov mediation in the original folk music Ukrainian composers for accordion solo (folk neoromanticism, neofolclorism, the new folk wave): Abstract. Thesis ... candidate. Art .: spec. 26.00.01 - «Theory and History of Culture» / A. Shamihov. - K., 2011. - 16 p. 3 Pasichnyak L. Academic folk instrumental ensemble art of the twentieth century Ukraine. : Executive historical aspect: Thesis. Thesis ... candidate. mystv. : Special. 17.00.03 - «Music Art» / L. Pasichnyak. - L., 2007. - 17 p. 4 A. Vivaldi - JS Bach. Concert d - moll (III-IV hh.), P. Sarasatte «Andalusian song» E. Doga «Ballad» E. Derbenko «Variations on the Russian folk song» Glade «V. Samofalov. «Ukrainian mosaic suite» Picturesque Ukraine «(I am).» Nikuliana «(from the repertoire of» Terem Quartet)», CHRISTMAS medley «(from the repertoire of» Terem Quartet )».

References 1. Balik Vladislav V. Zolotarev: Life and Works (reconstruction and performing analysis works) / V. Balik. / [Red.- compilation. B. Pyts A. Slavich; Art. B. Article Pyts]. - Drohobych: Pósvit, 2008. - 104 p. 2. Bozhenskyy A. Research priorities of the department of folk musical instruments and vocals DDPU them. Franko at the turn of XX-XXI centuries. / A. Bozhenskyy // Development of Modern Education: results, problems and prospects: thesis and International. scientific-practic. Conf. ml. scientists (Drohob. state. ped. Univ them. Franko, Nov. 21-22. 2013) / [emphasis red.-.: W. Ilnytskyy, stuffy A., I. Zymomrya]. - Drohobych: Dedicated, 2013. - P. 83-85. 3. Bozhenskyy A. Scientific and methodological and educational achievements bayanno- accordion repertoire cell Drohobych as a basis for the phenomenon of professional development / A // Bozhenskyy VII All-Ukrainian. «Music education Ukraine: problems of theory, methodology, practice» and IV Intern. «Creativity for folk instruments and foreign composers Ukraine» scientific-practic. Conf. (DDPU them. Franko, April 30 - May 1. 2014, m. Drogobych): Coll. materials. and reports / [red.-stop. A. stuffy, B. Pyts]. - Drohobych: Dedicated, 2014. - P. 82-86. 4. Vladislav Zolotarёv: materials for the bibliography / [red.-comp. B. Balыk, Society. Ed. B. Pыts]. - Drohobыch: Posvyt, 2012. - 440 p. 5. M. Davydov History performing folk instruments (Ukrainian academic school): textbook [higher and August. muses. teach. bookmark.] / M. Davydov. - K.: NMAU. Tchaikovsky, 2010. - 592 p. 6. M. Davydov Mecca folk instrumental Arts / Davydov M. // Ukrainian music newspaper. - 2011. - July-September. - № 3 (81). 7. Drohobych State Music School. Barvinskyi - 60 - Drohobych: Circle, 2005. - 80 p. 8. A. stuffy Carpathian bayan duo: creative and performing aspect teach. Ref. / A. stuffy. - Drohobych: Dedicated, 2007. - 88 p. 9. stuffy Anatoly A. Onufrienko: life dedicated to music: monograms. / A stuffy / [by the Society. Ed. B. Pizza]. - Drohobych: Dedicated, 2010. - 328 p. 10. Method A. stuffy enhance creativity of future music teachers in the musical and musical training: Teach method. Ref. [for students. Higher teach. bookmark.] / A stuffy. - Drohobych: Dedicated, 2008. - 120 p. 11. A. stuffy International Competition of Accordion Bayan «Perpetuum mobile» as a factor in promotion of national instrumental art Ukraine / A stuffy // Science. Bulletin NMAU. Tchaikovsky: Performing musicology, composition activity stylistic paradigm and performing musical interpretation, actual problems of musical pedagogy / [sponsors, red.- stop. : M. Davydov, V. Sumarokova]. - K.: NMAU. Tchaikovsky, 2013. - Vol. 107 - P. 72-84. 12. A. stifling the orchestra of folk instruments on the example of «Fantasy» A. Onufrienko: method. recommend. [for universities cult. and Mist. I-II levels of accreditation] / A. stuffy, S. Karas. - K.: INKOS, 2006. - 52 p. 13. A. stuffy department of folk musical instruments and vocals Drohobych State Pedagogical University. Franko: scientific-history. lapping. / Stuffy A., B. Pyts / [Ch. Ed. I. Frayt]. - Drohobych: Dedicated, 2011. - 196 p. 14. A. stuffy Lviv school commonplace accordion-art directory / stuffy A., B. Pyts. - Drohobych: Dedicated, 2010. - 216 p. 15. Kundys GK questions Lviv school commonplace accordion-art position typological features regional performing school // Ukrainian Culture: Past, Present and ways of development: Coll. Science. works: science. app. Rivnen. state. humanit. Univ. In 2 tonnes. - Vol. 17. - Exactly: RSUH, 2011. - T. 1. - P. 220-225. 16. Alexander Maximov Teaching repertoire for folk instruments (from the repertoire of the trio «Harmony»): teach. Ref. [Music] / Alexander Maksimov, V. Shafeta. - Drohobych: Pósvit, 2011. - 118 p. 17. Okolovych I. Osvityanstvo Drohobych: History and recent experience building cultural artistic traditions of the region / I. Okolovych // Mystetstvozn. app. : Coll. Science. works. - K.: Millennium, 2011. - Vol. 19. - P. 346-352. 18. Teaching repertoire for the ensemble of accordionists (from the repertoire of «Precarpathian duo»): teach. Ref. [Music] / [red.-compilation. A. stuffy]. - Drohobych: Dedicated, 2009. - 84 p. 19. Teaching repertoire for the ensemble of accordionists (from the repertoire of «Precarpathian duo»): teach. Ref. [Music] / [red.-compilation. A. stuffy]. - Drohobych: Pósvit, 2009. - Vol. 2 - 96 sec. 20. B. Method Saliy work on the musical way in teaching teenagers playing on bayan (accordion): Abstract. Thesis ... candidate. ped. Sciences: 13.00.02 - «Theory and methods of music education» / V. Salii. - K., 2010. - 20 p. 21. A. Semeshko commonplace accordion-art Ukraine at the turn of XX-XXI centuries. : Lapping. / A. Semeshko. - TV: Educational book - Bogdan, 2009. - 244 p. 22. B. Syuta Drogobych enthusiasts commonplace studying accordion-art / B. Syuta // Ukr. muses. newspaper. - 2011. - № 2 (80). - P. 9-10. 23. Yuri Chumak Viktor Vlasov Arts commonplace in the context of accordion music-Ukraine: Thesis. Thesis ... candidate. mystv. : 17.00.03 - «Art of Music» / Yuri Chumak. - A., 2014. - 20 p. 24. V. Shafeta Instrumental ensemble art Drohobych: musical-pedagogical faculty DDPU them. Franko // History, Theory and Practice of Music and Aesthetic Education: Coll. mat. IV All-Ukrainian. scientific-practic. workshop. - Drohobych: Dedicated, 2010. - P. 242-245.

Summary Disclosed priorities guidance and training and repertory works of artists Bayan Accordion Drohobych in solo and collective playing. Study analyzes composition activity (ordering books, original music, transcriptions, arrangements, etc.) and instructional materials; analyzed research «Lviv school commonplace accordion-art» and epistolary material composer Vladimir Zolotarev. Keywords: accordion, accordion, Drohobych, repertoire, books, dissertations guidelines.

Summary Dushni А., Bozhenski А. Drogobychyna as a scientific institution bayan-accordion movement in Ukraine of the XXI century Drohobych at the turn of the century actively entered the mainstream and commonplace, accordion folk instrumental art of Ukraine. From his time in Drohobych (70-80 years of the twentieth century). Were qualifying rounds in national and international competitions held zonal competition of accordionists Accordion Western Ukraine (1989) and in the second half of the 90-s Contest of Young of folk instruments «Young Voices» (1997). The beginning of the new millennium was marked today well-known at home and abroad Ukrainian contest of folk instruments named. A. Onufrienko and «Patterns Carpathians» and international competition Bayan Accordion «Perpetuum mobile», in which organized scientific conferences, workshops, demonstration lessons, concerts by famous artists and bands that ultimately becomes an important factor in promotion and development of Ukrainian folk instrumental art. It is in Drohobych 2004-2005, is launched research and art project «Lviv school commonplace accordion-art» (by A. stuffy, Pyts B., S. Karas) and the project «Young generation Lviv commonplace accordion-school» (2008) which unified all directions and scientific research. Disclosed priorities guidance and training and repertory works of artists Bayan Accordion Drohobych in solo and collective playing. Emphasized on activating print special musical literature (original music, translations for accordion and accordion, instrumental ensembles, teaching materials to master this heritage). Study analyzes composition activity (ordering books, original music, transcriptions, arrangements, etc.) and instructional materials; analyzed research «Lviv school commonplace accordion-art» and epistolary material composer Vladimir Zolotarev. It is emphasized that today in Drohobych the first time in the Competition of folk instruments ensemble began category of different types (homogeneous and mixed ensembles such small and larger forms) and innovation was the category «orchestra of folk instruments», which for nine years participated more than 40 orchestras primary specialized and higher educational institutions of I-IV accreditation (Lviv, Ternopil, Volyn, Transcarpathian, Vinnitsa, Kherson, Luhansk, Donetsk, Rivne, Mykolaiv, Kyiv, Chernihiv, Sumy regions), Simferopol. Crimea, Belarus Latvia, Russia. Organizational work that is rotation-competitive festival movement, science and art projects, live performances sociocultural raises important factor today. These factors contribute to the recognition of Drohobych as in different- artistic circles of Ukraine and the establishment of a global musicological functioning. Thus, teaching repertoire, scientific and methodological developments commonplace accordion-cell Drohobych is multifaceted and widespread, accepted in scientific circles in Ukraine and abroad, systematically used in the teaching process is an integral part of an integrated system of academic folk instrumental art in the context of socio-cultural changes in Ukraine XXI century, stress the authors. Key words: accordion, accordion, Drohobych, repertoire, manuals, theses, guidelines, methodological principles, performance art, concert, Ukraine XXI century, leading teachers, musicologists, collective music- making, repertoire policy, trends, teaching repertoire.

Annotation Stuffy A., A. Bozhensky Drogobichchina as a scientific organization bayanno-accordion movement in Ukraine of the XXI century Reveals the priorities of scientific-methodical and educational repertoire Heritage bayanistov- Drogobychchiny accordion solo and collective music-making. Analyze the results of the work (drawing collections, original music, arranged, arrangement, etc.) and teaching materials, the study highlights «Lviv school bayanno accordion-art» and epistolary material of the composer Vladimir. Zolotarev Keywords: accordion, accordion, Drohobych, repertoire, manuals, thesis guidelines. Received 07/10/2014

UDC 78.3.27 M.V. Pankiv PUT ACCORDIONIST-ACCOMPANISTS (ACCOMPANISTS) IN THE CULTURAL AREA XXI CENTURY

Formulation of the problem. The socio-cultural paradigm of the XXI century. is an important factor in advocacy of music features with regard to highly professional art sphere. This strong position given its academic folk instrumental niches, and in particular - commonplace-accordion art. In solo and collective performance-bayan accordion is now significant results, and on kontsertmeysterskoyi level, the question arises to help readers visualize the analysis. After all, not every performer, soloist or accompanist may accompanist, or even ensemble. This is preceded by a number of factors (play by ear, transposition, reciting from the letter notes, improvisation, sense of community or partner, etc.), which in a particular field of study (for example, «kontsertmeyster- pianist»), today no. Accordingly (as opposed to piano), there is competitive category, which could manifest itself concertmasters-accordionists (accordionists), and it also raises the question of the organizers of competitive movement on the feasibility of such a nomination. Although today active in the field kontsertmeystersko-akompaniatorskoyi number of working professionals bayan accordion-like artistic groups and single concerts. This was the urgency in choosing the theme of scientific exploration. Analysis of the research. In recent years kontsertmeysterskiy of dissertation research is devoted L. Slider «Scientific and artistic aspects of the art of pianist-accompanist» (K., 2005) Karpenko T. «Formation kontsertmeysterskoyi pedahohiv- competence of the musicians in the study of professional disciplines» (K. 2010), O. Korobova «structure in anticipation of artistic and creative activities accompanist» (Saratov, 2011); publication Andriychuk P., A. Birch, A. Babchuk, G. Horbulych, N. Zhuravleva [4] K. Ivanova, V. Levchuk, Nebunu Yu, B. Nesterovych, A. Matkovs’kyi, T. Malikov, T. Molchanov, V. Obschanskoho, S. Sexton, V. Pavlichuk, T. Foyder, E. Shenderovich and others. Handbook in folk instrumental art today find David M. textbook «History of playing folk instruments» [1], which summarizes the formation, development and promotion of folk instruments in Ukraine. Reference material presents the works of Semeshko «commonplace accordion-art Ukraine at the turn of XX-XXI centuries» [10], which for the first time in Ukraine collected and unified various activities Bayan Accordion at the turn of the century. Regional aspects of research commonplace accordion-art and music collective folk instruments considered in the directory stuffy A. and B. Pizza «Lviv school bayanno- accordion art» [3]. Accessibility and scientific understanding of the department of folk musical instruments and vocals Drohobych State Pedagogical University. Franko published in scientific-historical reference book [9]. Some intelligence dedicated AP figures Rachinsky [8] and the Carpathian duet Bayan [2]. Internet sites [5, 6, 7] reveal a palette of operation of a number of leading teams of Ukraine, which are the same accompanists accordionists Accordion. The purpose of the article is to highlight personalities Bayan-accompanists (accompanists), which, in our opinion, appear dominant in performing activities and thereby create image definitions profession. Presenting main material. Art commonplace today occupies an important place in the overall system musicology, with existing methodological framework original repertoire, leading educators, bunch of winners of the most prestigious performing competitions, a number of professional performing arts professional forums, and more. Becoming accordionist Executive is systematically and in stages (music school - college - university or SSMSH - Universities) based on the theories and methods of forming accordionist performing skills (M. Davydov) ensemble (M. Rizol) and estradno- jazz music (V. Vlasov) , mastering the highly original repertoire composers Bayan (Zubytsky V., V. Vlasov, A. Gaidenko, Vl. Zolotarev, A. Stashevskyi A. Nyzhnyk, Runchak B., B. Myronchuk, Yu Shamo, A. Biloshytskyy etc. .). Organizing participation solo bayan (accordion) in international competitions («Fotlandski days of music», «World Trophy», «World Cup», «Cup Kryvbas», «Golden Accordion», «Acco Holiday», «Perpetuum mobile», «Inter Svitiaz- accomusik» and others.) Was the dominant formation of high-performers who received the highest awards and thus brought victory commonplace Ukrainian school. At the same time, we see the emergence of a number of ensembles homogeneous and heterogeneous composition featuring accordion, which are now progressing (in repertoire politics in particular) and enable the involvement of joint creative process a wide range of musicians of different specialties with one purpose - to popularize academic folk instrumental (or instrumental in the chamber sense) collective music-making in various art projects Ukraine and the world. These levers and are cornerstones of future activity accordionists who choose their profession «kontsertmeysterstvo» or «akompaniatorstvo» in various creative collectives. Arts accompanist - the main priority of performing arts aesthetic. The concept of «accompanist» is regarded as the originality of artistic performance, individual reflection and interpretation of the author’s intention, reconsideration note text in the context of the artistic process and creative self-expression. Kontsertmeysterstvo is weighty, valuable type of musical performance, a manifestation of which is characterized by its role in the individual personality in the interpretation of music. In kontsertmeysterskomu there are several large-scale performance levels: learning the essence of some melodies and intonations by understanding and disclosure of their semantic meaning; transition from semantic specificity to the ideological and artistic synthesis; execution of certain artistic conception [4; 105]. Therefore, concertmasters- accordionists are working in art groups, in particular - National Honoured Academic Dance Ensemble of Ukraine. P. Virsky, Honored National Ensemble of Song and Dance Company of Ukraine «Darnychanka» Carpathian Honored Song and Dance Ensemble «Verkhovyna» song and dance «Truskavchanka» Honored vocal and choreographic ensemble of Ukraine «Galicia», the national student vocal and choreographic ensemble « Snowdrop «and others. One of the leading groups in Ukraine that brings together many brilliant kontsertmeysteriv- Bayan is National Academic Dance Ensemble of Ukraine. Under the direction of P. Virsky - Hero of Ukraine, People’s Artist of Ukraine Mykola Vantukh [7]. Since 2002 the ensemble are active and Ruslan Bohdan pies - family duet Bayan, widely known in the artistic circles of Ukraine and abroad. They - Honored Artist of Ukraine, graduates NMAU. Tchaikovsky composed the duo - winners of international competitions and awards «Trophy of Yugoslavia» (m. Krautse, Yugoslavia, 1991) and «Fotlandski days of music» (m. Klingenthal, Germany, 1998) [10; 114-115]. Veteran accompanists of Bayan-appointed group - Alexander Ponomarev, Honored Artist of Ukraine, Lviv Conservatory graduate. Lysenko (Class Assoc. J. Kuzheliev). Works in the ensemble named. P. Virsky of 1978, is the author of music and arrangements in a number of choreographies and concerts («My Ukraine», «Volyn Polka», «Hutsul Girl», «Bukovina», etc.). Touring team from Europe, Asia and America [10; 117]. The youngest concertmaster team (from 2006), a leading accordionist singer today, a graduate of the class of People’s Artist of Ukraine, prof. NMAU. Tchaikovsky V. Besfamilnova - A. Khrustevych. His skill at international competitions shlifuvalasya «Golden Accordion» (New York, 2001, III Prize), «Play accordion» (Rzhev, Russia, 2003, I prize) «Cup Kryvbas» (Krivoy Rog, 2003, 2006, II Prize), «From Baroque to Jazz» (Wroclaw, Poland, 2006, I prize), «Acco Holiday» (Kyiv, 2006, II prize) [10; 158]. Today landmark in the artistic center of it took Honored Folk Song and Dance Ensemble of Ukraine «Darnychanka» running Honored Worker of Culture of Ukraine Mr. Andriychuk (graduate of Kyiv Conservatory. Tchaikovsky, bayan - People’s Artist of Ukraine, prof. M. Rizol) that 1978-1992 biennium. accordionist, was concertmaster of the team, and from 2002 - its artistic director [5]. In «Darnychantsi» from 1992 concertmaster, works accordionist Vladimir Yakymchuk, KNUKiM graduate (class of A. and P. Andriychuk Gatsenko) and Kiev State Conservatory. Tchaikovsky (class of V. Samitova). B. Yakymchuk (in collaboration with P. Andreychuk) by manual «Choir Sings» (K., 2004), editor-compiler of a number of collections, winner of the international competition «Premiodi Montese» (Montez, Italy, in 2002, the categories «Variety» Prize, in the category «Academic Performance,» second prize) [10; 179]. Since 1999, the post of concertmaster «Darnychanka» graduate IA invited them. Tchaikovsky, an awardee accordionists in. St. Petersburg (Russia, 2003) - V. Bondarenko [5]. In the context of our active exploration draws attention to the figure of concertmaster and leader of the orchestra Honored vocal and choreographic ensemble of Ukraine «Galicia» by Rachinsky, a graduate of the Lviv State Conservatory. Lysenko (bayan - prof. M. Oberyuhtina). He instrumentalist soloist, ensemble, but its main performing area - concertmaster and accompanist. He actively cooperates in this position with piper Popadiuk V., M. Markevich; singers, soloists Philharmonic and opera S. Stephen M. Shunevychem, R. Witoszynskyj, G. Chornoboyu, G. Gavrish, Shkurhan A., N. Melnyk, V. Paslavskyi, Nagorno I., N. Romanyuk, V. Bilonizhka, A. Krovytskoyu, M. Shopsha; singer Ivan Popovich, P. Dvorsky, O. Bilozir, M. Slywotzky; choreographers M. paunch, J. Chuperchuk, Vanivskym M., A. Bobkivym [3; 33]. As the scholar artist B. Pyts «... each concert tours in Germany (2002) soloists Lviv Opera and Philharmonic ... showed in the first division and romansovoy opera classics ... and the second - the works of contemporary authors and Ukrainian folk songs. And all this accompanied by Mr. Rachinsky «[8; 179]. As part of «Galicia» and the above-mentioned musicians he applauded Europe, US, Australia. It is appropriate to draw attention to an artist, teacher, concertmaster-accompanist, a brilliant ensemble, co-founder «Precarpathian duet Bayan» (with S. Maximov), Honored Worker of Culture of Ukraine, head of cyclic commission folk instruments Drohobych LGU them. Barvinskyi V. Chumak (graduate Ural State Conservatory. Mussorgsky, class of prof. A. Trofimov). His multifaceted personality interpreter refined musician, arranger and composer (author of several original works and arrangements and transcriptions for accordion and ensemble of accordionists), large-scale concerts given fruit fruitful creative activity. He accompanist folk song and dance «Truskavchanka», which toured Belarus, Russia, Poland, France; in creative tandem with soloists of the State Academic Theatre of Opera and Ballet. Franko S. Stephen, NB Tychynskiy, son and Chernivtsi Yalta Philharmonic, vocalist G. Gavrish, Telihy, A. Kaminsky, J. Blades concerts in the US, Canada, gives a concert at UN headquarters [2; 6]. An interesting and surprisingly successful cooperation is «Precarpathian duet Bayan» (V. Chumak and S. Maximov) of the honored worker of Ukraine K. Syatetskym. The team performed K.Syatetskomu accompanist at the international festival «Folklorama» in. Winnipeg (Canada, 1997), the singer’s creative evening (Drohobych, November 2001), celebrating 30 years of creative activity «Precarpathian duet» (Drohobych, December, 2012) and others. The young generation accompanists-bayan (accordion), and therefore the orchestra appears in Carpathian Honored Song and Dance Ensemble «Verkhovyna» (art director - S. Maidanyk). For a long time accompanist-accordionist team works N. Boyar, a graduate of the Faculty of Music and Pedagogical University of Drohobych GPU. Franko (class of prof. E. Mantulyeva) [6]. From time to creative work graduates are invited Drohobych State Music College. Barvinskyi accordionist Robert Stahniva (master class Yuri Chumak) in 2010 and accordionist Vladimir Mycak (class of Honored Worker of Culture of Ukraine Viktor Chumak) from 2012 Today, the creative tandem of Music and graduated from the Faculty of Education University of Drohobych GPU. Franko (Class Assoc. A. stuffy). In the process of forming their own style, creative image and performance skills Stahniv R. and V. Mycak as soloists, members of national instrumental ensembles take part in several competitions and festivals performing in Ukraine, Serbia, Latvia, are winners of competitions in duet and instrumental ensembles - them. I. extinct «Golden Rose» (Lviv, 2011, 2013, First Prize), «Perpetuum mobile» (Drohobych, 2011, First Prize in a quartet of folk instruments, 2013-2014., Second Prize (duet) ; in 2013, the Grand Prix consisting instrumental quartet), «Internet music competition» (Serbia, 2012, second prize in a quartet of folk instruments), «KrimACCO» (Simferopol, 2013, II prize) [9; 81-82]. R. Stahniv author of two textbooks «Teaching repertoire for folk instruments» (Drohobych, 2010, 2013) of copyright works for accordion, bayan akordeonistiv- duet, ensemble and orchestra of folk instruments. As part of «Verkhovyna» performers touring Ukraine, Latvia, Croatia and Poland. Representative accordion school professor. E. Mantulyeva (graduate 2005), teacher, concertmaster-accompanist, V. Shafeta since student years in the field of self-actualization. Today, it is art. lecturer of folk musical instruments and vocals DDPU them. Franko, and since 2001 concertmaster and accompanist student vokalno- folk choreographic ensemble «Snowdrop» (art director - Assoc. J. Dobush). Co-author (with A. Yu stuffy and Dobushem) textbook «Teaching repertoire for vocal ensembles (from the repertoire of folk vocal and choreographic ensemble» Snowdrop)» (Drohobych, 2013), which highlights trends repertory ensemble and career for almost half a century of history. As for the team, in the years of his accompanists-bayan (accordion player) were Lemekh R., S. Protsyk, V. Chumak, L. Martin, R. Kundys, R. Stahniv, N. Khomyn [3; 51]. With collective «Snowdrop» V. Shafeta was the seven-time winner of international competitions and festivals. He made tours to Poland, Italy, France, Latvia and Turkey. B. Shafeta is also concertmaster Municipal male chamber choir «Bojan Drohobych» (2003-2011 gg.), Which participated in creative trips to Poland, the Czech Republic, Hungary, Greece, Austria and Northern Ireland [9; 24]. Conclusions. Figure accompanist-accordionist (accordion) represents a number of factors of his creative ego professionalism, formation of performance skills through self-realization in solo and collective music-making, the ability to scientific understanding their own actions, composer activity, pedagogical aspect of communication, education and training, creativity and personalization to stereotypes of creative activity, fanaticism and dedication, and so on. Therefore appointed phenomenon is a prime example for professionalism and illustrate creative acts in the context of sociocultural Ukraine XXI century. Summary Disclosed individual Bayan-accompanists (accompanists) B. and R. pies, Alexander Ponomarev, A. Khrustevych, P. Andriychuk, V. Yakymchuk, V. Bondarenko, P. Rachinsky, V. Chumak, R. Stahniva, V. Mycak V. Shafety that evolved from executors, soloists to this domain of activity. Analyzes the leading teams of Ukraine, in which the role accordionist- concertmaster occupies a key place and becomes a priority to follow. Keywords: accordion player, accordion player, concertmaster, accompanist, ensemble, soloist, groups.

References 1. K. Davydov M. history of playing folk instruments (Ukrainian academic school): textbook. [for HI. and sir. muses. teach. bookmark.] / M. Davydov. - K.: NMAU. Tchaikovsky, 2010. - Ed. 2, ext. and straighten. - 592 p. 2. L. stuffy A. Carpathian bayan duo: creative and performing aspect teach. Ref. / stuffy. - Drohobych: Dedicated, 2007. - 88 p. 3. M. A. stuffy Lviv school commonplace accordion-art lapping. / Stuffy A., B. Pyts. -Drohobych: Dedicated, 2010. - 216 p. 4. N. N. Zhuravlev philosophical and aesthetic aspect of creativity kontsertmeysterskoyi /N. Zhuravlev // Youth and market. - September, 2011. - № 9 (80). - P. 105-108. 5. O. Honored Folk Song and Dance Ensemble of Ukraine «Darnychanka.» [Electronic resource]. - Access to the document: http://darnychanka.at.ua/P. Carpathian Honored Song and Dance Ensemble of Ukraine «Verkhovyna». [Electronic resource]. - Access to the document: http://verhovyna.org.ua/ua/index.html 6. Q. National Academic Dance Ensemble of Ukraine. P. Virsky.[Electronic resource]. - Access to the document: http: //virsky.kiev.ua/index.php 7. R. Peter B. Pyts Rachinsky: creative touches to the portrait // Academic People’s instrumental and vocal arts school of Lviv: Coll. mat. scientific-practic. Conf. (Lviv, LDMA them. Lysenko, Nov. 3. 2005) / [red.-compilation. A. stuffy, S. Karas, B. Pyts]. - Drohobych: Dedicated, 2006. - S. 176-182. 8. S. B. Pyts department of folk musical instruments and vocals Drohobych State Pedagogical University. Franko: scientific and historical lapping. / B. Pyts A. stuffy / [Ch. Ed. I. Frayt]. - Drohobych: Dedicated, 2011. - 198 p. 9. T. Semeshko A. commonplace accordion-art Ukraine at the turn of XX-XXI centuries. : Lapping. /Semeshko. - TV: Educational book - Bogdan, 2009. - 244 p.

Summary Pankiv M. Figurebayan-accompanists in the cultural area of the XXI century In solo and collective performance-bayan accordion is now significant results, and on kontsertmeysterskoyi level, the question arises to help readers visualize the analysis. After all, not every performer, soloist or accompanist may accompanist, or even ensemble. This is preceded by a number of factors (play by ear, transposition, reciting from the letter notes, improvisation, sense of community or partner, etc.), which in a particular academic discipline (such as «accompanist pianist»), today no. Accordingly (as opposed to piano), there is competitive category, which could manifest itself concertmasters- accordionists (accordionists), and it also raises the question of the organizers of competitive movement on the feasibility of such a nomination. Arts accompanist – the main priority of performing arts aesthetic. The term «accompanist» is regarded as the originality of artistic performance, individual reflection and interpretation of the author’s intention, reconsideration note text in the context of the artistic process and creative self-expression. Kontsertmeysterstvo is weighty, valuable type of musical performance, a manifestation of which is characterized by its role in the individual personality in the interpretation of music. The article contains numerous examples of such an accompanist in the practice of leading artistic collectives of Ukraine. Figure accompanist-accordionist (accordion) represents a number of factors of his creative ego professionalism, formation of performance skills through self-realization in solo and collective music-making, the ability to scientific understanding their own actions, composer activity, pedagogical aspect of communication, education and training, creativity and personalization to stereotypes of creative activity, fanaticism and commitment to others. Therefore appointed phenomenon is a prime example for professionalism and illustrate creative actions in the context of cultural and artistic practice Ukraine XXI century. Expressed the need to recognize accompanist-accordionist (accordion) separate area of musical training in higher educational institutions of art as it is applied in practice training accompanist, pianist and proposed to organize a creative individual nomination in the organization performing competitions of various levels. The article reveals personality Bayan-accompanists (accompanists) B. and R. pies, Alexander Ponomarev, A. Khrustevych, P. Andriychuk, V. Yakymchuk, V. Bondarenko, P. Rachinsky, V. Chumak, Stahniva, B. Mycak V. Shafety that evolved from executors, soloists to this domain of activity. Analyzes the leading teams of Ukraine, in which the role accordionist-concertmaster occupies a key place and becomes a priority for further follow. Key words: accordion player, accordion player, concertmaster, accompanist, ensemble, soloist, artistic groups, solo and ensemble performance, leading artists of Ukraine, scientific and methodological support, the cultural phenomenon of modern Ukraine, higher education institution performing school.

Annotation Pankiv M.V. Figure pianist-accompanist (accompanist) in the cultural space of the XXI century Disclose the identity of Bayan-accompanists (accompanists) B. and R. Pirogov, A. Ponomarev, A. Hrustevicha, P. Andriychuk, Yakymchuk V., V. Bondarenko, P. Racha, V. Chumak, R. Stahniva V. Mytsaka V. Shafeta that evolved from ispolniteley- soloists through a variety of creative music-making to the specified scope. Analyzes the leading teams of Ukraine, in which the role of an accordionist-concertmaster is a key element and it becomes a priority to follow. Keywords: accordion player, accordion player, concertmaster, accompanist, ensemble, soloist, groups. Received 07/11/2014

UDC 76.038.532 (477) «19» L.V. Kraylyuk NIL HASEVYCH GRAPHICS AND UKRAINIAN BOOK FIRST HALF TWENTIETH CENTURY.

Ukrainian book graphics and floor. The twentieth century. art remains a subject of interest. The latest research should highlight the work «Ukrainian book cover first third of the twentieth century» (2005) and «Grafhien graphics. Essays on the History of Ukrainian graphics of the twentieth century. «(2007) O. Lagutenko» across borders. Modern Ukrainian book graphics 1914- 1945 «(2008) M. Mudrak and others. Apogee flowering schedules, book and magazine covers in Ukraine falls on the 20 years. Active attitude on life embodies contemporary artists on the covers of books dynamic rhythms, colorful sound. Stormy style changes are reflected in book graphics Kovzhun P., R. Lisowski, A. Petrytsky, AG Insurance, S. Hordynsky, M. Butovych [9; 12]. One of the artists involved in the development of the applied arts are Hasevych Neil (1905- 1952 years.), Known for his cooperation with the Ukrainian liberation movement of 1940 - beginning of 1950. The leading trend of book illustration is spread in the 20’s. Illustrations made in woodcut technique. Woodcut actively implemented in the design of the book followers M. Boychuk, students workshops S. Nalepynskoyi-Boychuk at the Kyiv Art Institute I. Padalka and workshops at the Kharkov Art Institute. B. Skochylias Professor of the Warsaw Academy of Fine Arts, who studied N. Hasevych also worked in this technique of book illustration. Artist «much of its creative energy devoted to art books that has a special meaning under review a pan» - is celebrated in 1939 T. Lyeshner [10; 4]. His work in the field of book design is a means of preserving the art of Ukrainian presence underlines M. Mudrak [12; 14]. A fault Volyn graphic print design considers Darewych D. noting quest synthesis between modern and traditional areas [8; 15]. However, the number of discovered artifacts makes it impossible to reconstruct N. Hasevycha book graphics. But, fortunately, the situation is changing, thanks to the efforts of researchers in the scientific revolution gradually introduced new findings. Chronologically, the first known artist’s works - to cover «all calendars», dated 1927 Her performance confirms the high professional level of the artist before his entry into the Warsaw Academy of Fine Arts. Manifestation book graphics became front page directory anniversary exhibition «Art group» Tranquility «- 5 years of work,» which was published in 1932 discovered a perfect mastery of rhythm strips and handwritten font elements composition creates a unique image edition. This version N. Hasevych scripts used for performance letters of «Honorary member of the group« Peace »named professor. D. Antonovich and the Metropolitan A. Sheptytsky. In fact, since the early 1930s. Artist developed his own individual handwriting that allows you to accurately recognize its font works. «Primer» that was published in Lviv in 1933, designed by the artist in collaboration with A. Karpenko. It is likely that this cooperation is due latest teaching privately in Rivne Ukrainian Gymnasium [6; 140]. His graphic works that serve as decoration «Primer», select the silhouette figures. This kind of applied graphics board containing a distinct beginning, promotes imagination, so used to design children’s books. Extremely successful illustration of the «primer» is the story of four boys scene figures. The artist managed to convey language silhouette lively debate and even characters characters [1; 24]. By the way, besides G. Narbut in Ukrainian graphic silhouette of a complex technique used only P. Kovzhun to design the cover page of the magazine «World Child» [13; 167]. The following samples preserved book graphics N. Hasevycha - cover and illustration magazine «Bonfire,» book cover «Marshal J. Pilsudski VUO», made in 1935 on a high artistic level. The first interesting composition of the diagonally placed elements of constructivism [2]; Publication Volyn Ukrainian association combines expressive composition of the copyright of the font solution [4]. Publication artistic circle «Tranquility» «woodcut» dates from 1936 his cover, bookend and illustrative content became further evidence of the high professional level, because its design artist used stylized combination of image attributes derevorytnoho art font dominant component of the composition. Name Kushnirenko S. (1913-1984 gg.), A famous poet in the 1930s - early 1940s. Western Ukraine and Poland among Ukrainian immigrants, has long been little known in the country. Until recently, even his closest relatives - his wife, daughter and grandchildren did not know that he was studying at the Faculty of Philology of Warsaw University, wrote poetry, publishing them in Lviv «Bulletin» and other Ukrainian periodicals Lviv, Krakow, is the author of poetry collection «Pruzhin.» The situation changed in 2013 after the publication of the book «Lost talent. Sergey Melik: biographical essay writings, documents «. Author and compiler N. Myronets other materials published poetry collection cover «Pruzhin» which was published in Lviv in 1938 in an elegant font songs felt artistic handwriting N. Hasevycha. Authorship covers numerous facts confirm the biographies of both artists - such as learning C. Kushnirenko in Rivne Ukrainian private school from September 1933 to June 1935 Direct facts dating poet artist is detected, but for some hypothetical relationships indicate facts. The first collection of ten poems called «life streamer» S. Kushnirenko was published in a student magazine «Bonfire» (January 1935), the title page which, as noted, has issued N. Hasevych. Secondly, after graduating from high school in the same year S. Melik came to study at the Faculty of Philology of Warsaw University and was a member of the Ukrainian student community related to the art circle «Calm». To create poems cover C. Kushnirenko artist began having experience and recognition taken victory at the International Triennale carving in Warsaw. No doubt that the future cover image created during the artist’s personal impression of rhythms, moods and ideas of poems included in the collection. As the N. Myronets, a detailed analysis of his poetry in front [7; 34], and a cursory review of poems included in the collection, gives an idea of the modern outlook of the young author. These works reflected the mood of a generation of young Ukrainian patriots which in 1920-1930’s., Once for various reasons outside the homeland, acutely experienced defeat Ukrainian liberation struggle. Telihy thought: «While reading this poetry feel that it really became, in spite of Captives thoughts, a new force,» poured sun, young, strong «cult of zavzyattsiv with race.» P. Dontsov Kushnirenko attributed to the talented authors of «Bulletin» [7; 11]. Malaniuk in a review of the collection «Pruzhin» emphasized that it is «keen and hungry in the colors of the movement - the young stars. Beats unequal her poems uneven, almost feverish, but the hot pulse of real life. There is a happy discovery, not refined pencil, but suggested passionate lyrical wave pulse rhythm. « As the most successful attempt in the direction of epics and even some fabulyarnosti Malaniuk notes poem «Five cartridges,» and the poem «Young Mother», in his view, is «Good overview of Impressionism in conciseness, rigor and simplicity» [7; 11]. Thus, S. Kushnirenko poetic collection combining diverse themes and moods - ease of finding impressionistic nature, metallic rhythms industrial era, hungry for life and tragic battle expressive sketches of the attributes of modernity. In these images of rampant circulation of many contrasts - perhaps because the title page composition based on the contrast of massive horizontal strips that serve as «foundation» for letters, exquisite elastic distinctly individual grapheme Hasevychevoho italics. Similar forms italics seen on the front page of the calendar Volyn «husbandmen» in 1939 [3], N. Hasevychem done in 1938, that is chronologically close to the time of the collection covers. The combination of horizontal and vertical stripes artist has repeatedly used to address the cover pages - so the rhythm five massive lines strung on strong vertical form-building serves as a frame composition exhibition catalog «artistic circle» Tranquility «5 years work.» The excellent design of the book «Marshal J. Pilsudski VUO» where art dealing author uses contrast different size bands, delicious Ukrainian statute clearly and geometric ornamentation, reminiscent of folk weaving patterns. In this case, N. Hasevych confined, as in the cover of the book «Pruzhin» black to enhance the expressiveness of the work. On the cover page and flyleaf «carving», issued by the artistic groupings «Calm», horizontal and vertical stripes stylized rose also combined with images of font attributes derevorytnoyi magic - cutter and board. Black and white contrast is diluted active red. In the magazine’s logo Volyn «The Way» (1937) used the N. Hasevych massive black horizontal strip placed on it with white font content, which «holds» font of the logo. [15] Horizontal stripes organize compositional rhythm as in the design of the poetry collection «Pruzhin» as energetic grounding letters grapheme top of compositions and unrestrained expression of italic font, which occupies the whole central and lower part of the square covers. So a collaboration with artist S. Melik was a special edition of the figurative embodiment that embodies modern Ukrainian book graphics. 1941 N. Hasevych made two versions of the draft covers Samchuka W. novel «Maria», none of which through unknown circumstances not used by the publishing house «Volyn» - the book was published in paperback typographical set of covers. Both formulations author offers illustrative of dominance over the font. It should be noted that it is in both projects used the italic font is almost identical to the cover page of the book «Pruzhin.» 1949 N. Hasevych executed in the technique of two-colored woodcut of his most famous artwork - to the anthology «Volyn to fight.» In the composition of the work is dominated by the figure of rebel with a machine gun on the background landscape motif. Rhythm of the font cover, using styling statute repeats the rhythm figures of soldiers in the background and tree trunks [5]. Chronologically, the latest design of book cover artist - edition of «Who Are Banderas and what they are fighting» Mr. authorship of Poltava in 1950, in which alternating with italics geometrized interpreted ordinance integrated complex rhythm of horizontal black and white stripes [14]. Book design occupies an important place in applied graphic artist. Today 12 known publications, wholly or in part (as «ABC») executed by the artist. It’s mostly artistic elaboration title pages of books, published with the assistance of limited funds, a minimum number of illustrations or without it. Nevertheless, the aesthetics of decoration books is not inferior to similar works of applied graphics Robert Lisowski, M. Butovych, A. Kulchytska, P. Kovzhun. Creativity for Volyn artist, like most of his contemporaries, a number of circumstances was not only self-expression as a conscious nurturing imagery and Ukrainian mentality. During the interwar 20th anniversary book is modern graphics has become one of the most influential cultural factors countering assimilation on both sides of the border. It is well understood Soviet punitive machine physically destroying not only printed works but also of the schedules-Boichukists S. Nalepynsku- Boychuk, VV Sedliar and others. World War II did not promote book publishing and caused mass emigration schedules of the western territories of Ukraine. Appearance artist books «Volyn to fight» and «Who Are Banderas and what they are fighting» was made in clandestine conditions, but these publications do not yield to the prewar level of artistic works of the artist. In the book graphics, as well as other areas, the artist combines traditional features borrowed from the arsenal of Ukrainian folk art with modern trends. Compositions architectonic covers and illustrations, a variety of construction, skilfully combined of font and image. Book NA graphics Hasevycha has a high artistic level and individual handwriting, enriching our understanding of Ukrainian book graphics 20-30s of last century.

References 1. ABC. The first booklet for schools of all mankind [Pictures]. - L., Circulation state. kind. school books, 1933. 2. Bonfire (ed. «Young community,» high school student body in Rivne Ukrainian) [Pictures]. - Exactly, 1935 // Closed. scientific-Help Fund. References. Daro. - Inv. Number 390. 3. Volyn calendar «husbandmen» in 1939 (circulation. Governor. T-va Tillage organizations and clubs in Lutsk) [Illustration]. - Lutsk, 1938 // Closed. scientific-Help Fund. References. - Daro. - Inv. 413 number. 4. VUO - Marshal J. Pilsudski [Illustration]. - Lutsk, Volyn. Ukrainian association, 1936. - 143 p. // Closed. scientific- Help Fund. References. - Daro. - Inv. 228 number. 5. Graphics in bunkers UPA. Album woodcut made in Ukraine in years 1947-1950 Ukrainian artist N. Hasevycha underground - «Bay Zota» and his students [Text, illustrations] / [introduction. SL. : P. Mehyk, L. Shankovskyy, V. Prokop]. - Philadelphia: Prologue, 1952. - 212 p. 6. Gutsulyak MO close distance. Rivne Ukrainian Gymnasium 1923-1939 gg .: With the addition of former student H. Knysh-Boa / M. Hutsuliak. - Vancouver, 1994. - 300 p. 7. Lost talent. S. Melik: biographer. essay writings, documents / compilation., foreword, biographer. sketch, note. N. Myronets. - Drohobych, Kolo, 2013. - 258 p. : Ill. 8. Ishchuk A. Life and work of Neil Hasevycha / Ishchuk A., I. Marchuk. Introduction. Art. D. Darewych. -Toronto - LA: Chronicle of UPA, 2011. - 430 p. : Ill. 9. Lagutenko A. Grafhien graphics. Essays on the history of the twentieth century Ukrainian graphics /A. Lagutenko. - K.: Faces - T, 2007. - 168 p. 10. Book mark Lyeshner T. Neal Hasevycha // Exlibris Neil Hasevycha. - Lutsk, Volyn. local history. Museum, 1992. - 32 p. 11. Art workshop «Tranquility» - 5 years of work: kataloh anniversary exhibition [Text illustrations] / [avt.- compilation. P. Mehyk]. - Warsaw, 1932. - 64 p. 12. Mudrak M. across borders. Modern Ukrainian book graphics 1914-1945 / M. Mudrak. -KA: Criticism, 2008. - 174 p. 13. Paul Kovzhun: creative heritage of the artist: Materials bibliographer. lapping. / Compilation. :I. Miller, R. Yatsiv. - L. Lviv. nat. Acad. Arts, 2010. - 253 p., il. 14. Who are the Poltava P. Bandera and what they are fighting [Illustration] / P. Poltava. - May seem :Kind. org. Ukrainian. Nationalists, 1950 // ROKM. Bk. 21770 / III d. 12277. 15. Way. Religious community magazine for people [Illustration]. - Lutsk, 1937 // DAVO. Inv.№ 28. S. 70.

Summary Volyn deals work schedule Neil Hasevycha in the context of Ukrainian book graphics, which from the late 20 th century. contributed to the design of publications. Tags: book graphics, Ukraine, the first half of the twentieth century.

Summary Krailyuk L. Nile of Hasevych and Ukrainian book graphic arts And halves of ХХ of century The leading trend of book illustration is spread in the 20-s of the twentieth century illustrations made in woodcut technique. Woodcut actively implemented in the design of the book followers M. Boychuk, students workshops Nalepynskoyi- Boychuk at the Kyiv Art Institute I. Padalka and workshops at the Kharkov Art nstitute. B. Skochylias Professor of the Warsaw Academy of Fine Arts, who studied N. Hasevych also worked in this technique of book illustration. The article highlights the work schedule Volyn Neil Hasevycha in the context of Ukrainian book graphics, which since the late 20s of the twentieth century contributed to the design of publications. Book design occupies an important place in applied graphic artist. Today 12 known publications, wholly or in part (as «ABC») executed by the artist. It’s mostly artistic elaboration title pages of books, published with the assistance of limited funds, a minimum number of illustrations or without it. Nevertheless, the aesthetics of decoration books is not inferior to similar works of applied graphics Robert Lisowski, M. Butovych, A. Kulchytska, P. Kovzhun. Creativity for Volyn artist, like most of his contemporaries, for a number of historical circumstances was not only self-expression as a conscious nurturing imagery and Ukrainian mentality. During the interwar 20-th anniversary book is modern graphics has become one of the most influential cultural factors countering assimilation on both sides of the border. It is well understood Soviet punitive machine destroying not only physically printed works of art, but also the most graphic Boichukists Nalepynsku-Boychuk, VV Sedliar and others. The Second World War did not promote book publishing and caused mass emigration schedules of the western territories of Ukraine. Appearance artist books «Volyn to fight» and «Who Are Banderas and what they are fighting» was carried out in difficult underground conditions, but these publications do not yield to the prewar level of artistic works of this artist. In the book graphics, as well as other areas, the artist combines traditional features borrowed from the arsenal of Ukrainian folk art with modern trends. Compositions architectonic covers and illustrations, a variety of construction, skilfully combined of font and image. Book NA graphics Hasevycha has a high artistic level and individual handwriting, enriching our understanding of Ukrainian book graphics 20-30s of last century, emphasizes the author. Key words: book graphics, Western Ukraine, the first half of the twentieth century, artist, national and cultural processes, creativity, Neil Hasevych, book publications, decorating, context, historical period, the Second World War.

Annotation Kraylyuk L.V. Neil Hasevich Ukrainian book graphics and the first floor. XX century. It analyzes the work schedule of the Nile Hasevicha Volyn in the context of the development of Ukrainian book graphics, which since the late 20-ies of the XX century. He participated in the design of publications. Tags: book graphics, Ukraine, the first half of the twentieth century. Received 5/10/2014

UDC 7.071.1 A. Moysyuk FACTORS PODOL’SKOGO ORNAMENT IN WORKS BY MARIYA PRYIMACHENKO

In Polissya folk weaving materialized basic categories of ethnic culture and embodied the new artistic forms that reflect the processes of transformation. Weaving patterns and names ornaments, embroidered and woven items is a systemic part of a rich and original folklore polishukiv who admired and enjoyed almost Lesya Ukrainian, P. Litvinov, Tychyna, M. Priymachenko. Novelty and relevance of the research is that to date none of the scholars of M. Pryimachenko not set out to make a comparative analysis of its components ornamental paintings of folk weaving Zhytomyr Polissya, because the picture of this brilliant artist deeper and more organic than creativity galaxy outstanding artists «naive» like - G. dog, Paty T., K. Bilokur associated not only with verbal «narrative» structure of folklore, but also ornamental system of traditional textiles Polissya [7]. Review sources showed no publications in which the authors have made a study of factors Polissya the ornament in the paintings of M. Priymachenko. The most thorough studies of ornamental motifs made in the work by O. Naiden «Maria Prymachenko. Ornament ornament space and space «[7]. The author developed a classification system of ornamental works of the artist, analyze their shaped, semantic, genre and style features, and divided them into separate classes, species and subspecies. Proved valuable plot-themed mural artist, which shows Polesskiye traditional fabrics, original art features which allow you to determine the identity of historical and ethnographic region of Central Polissya. This problem has not received special processing, which requires a separate analysis. The subject of the study is the display and interpretation of national ornaments textiles Zhytomyr Polissya in the work of M. Priymachenko. Selected perspective of art study provides new pryymachenkivski consider unique pictures, which clearly shows the traditional art of cloth Polishchuk. Understanding and analyzing this phenomenon is important, because in the context of national ethnic culture works of Pryimachenko and they played traditional fabrics Polissya region is an important property of historical and artistic heritage of Ukraine. Arts folk artist of Ukraine, laureate of the State Prize of Ukraine. Shevchenko M. Prymachenko - a phenomenon as original art each major artists. The ability to create a typical Ukrainian traditional art ornaments, Christina took over from his mother, who was recognized masters embroidery. In original compositions M. Pryimachenko leading ideology is a popular fantasy that embodied a certain ethical categories zhyttyestverdzhennya deep philosophy. Her work is a magnificent synthesis of the particular phenomenon of thinking, intuition, imagination and subconscious when created and the release of unprecedented, and sometimes bizarre images, whimsical decorative compositions that reflect the goodness and naive admiration the world. Brilliant artist has created his own artistic style, characterized by a wide range of options decorative, ornamental, landscape and genre compositions with flowers, birds and animals. With special poetry scene replayed in her compositions tales, song images, pictures of people’s lives, rituals, holidays, weekdays. In the works the artist has elements of ornament mural painting, pottery, eggs, products, weaving, carpet weaving, embroidery. Creative way M. Pryimachenko actually began with «pots». Article V. Danyleyko are three artist towels embroidered with «flowerpots»; One - «Bowl» (1930), two others dating from 1938 [1]. According to the principle of embroidery and mural painting mural depicts colors - «pots» are mainly light (or light pastel shades of yellow, green or blue) neutral background. A. The book Naiden [7] highlighted the depth and significance of the motive «pots» in the work of the artist, which turns the image-ideogram of the World Tree, rooted in Ukrainian, including Polissya folk art «in the consciousness and subconscious of craftsmen» [7 ; 36]. «In the early works of M. Pryimachenko declared itself as a kind of folk artists, whose individual creative thinking intended to consolidate the endangered folk ornamental plastic form, summarize creative experience of many generations of anonymous embroidery, carpet, weavers ...» [7; 41]. Getting M. Pryimachenko with other skilled folk artists in Kiev experimental workshops led to the expansion of its plot and thematic range, enriched its means of expression and creative thinking [7, 8]. Since its panels there are elements ornament plant Petrikov (buds, «onion»), folk ceramic murals («combs» «Curls») embroidery motifs (‘rose’ ‘floral motifs), weaving (broken line, patterned stripes, striped linear way, ornamented with elements of the traditional components of the device depicted tainter’yernyh fabrics), carpet (different types of geometrical ornament). As you know, the objective world- figurative works of Pryimachenko built with ornamental elements and composition organized by the decorative principles of symmetry, aligning, linearity, symbolism. From traditional folk paintings M. Pryimachenko borrows plot, the main attributes of figurative and figurative principle, but takes it all in his own way - fills all space and plane ornaments. «The main existential factors of the world served as subject-fancy metaphors dual symbolization» [7; 166]. In a plot-themed works of Pryimachenko clearly reflected through the prism of the unique creative thinking traditional folk costumes, as well as man- made fabrics, which up to now function as household items and interior decoration rural houses Polissya region. Paintings M. Pryimachenko on historical memory («Cossack Tombs»), reflecting the existence of the land of Polissya ornamental towels, including old Polissya custom binding towels, handkerchiefs or aprons roadside and household gravestones and crosses. Depicted artist line-striped towels building ritual in which the entire canvas plane entirely zatkana red and black patterned stripes characteristic and towels - «curtains» that existed in the territory of Zhytomyr Polissya in late XIX - the first quarter of the twentieth century. (Ovruch, Narodytsky, Korosten districts) [5]. In art fabrics Woodlands, including Zhytomyr dominate striped composition due weaving techniques, but it products Central Polissya region for ornamental-compositional schemes differ from neighboring areas. The process of matching artifacts from different areas of Ukrainian Polissya were identified similarities and differences in people’s artistic system tissue. Similar features are found, particularly in striated duty hladkotkanyh simple and ornamented bands of different widths, colors and ornamental load simplest monochrome or polychrome patterns - lines of dots and dashes that craftsmen called «road», «trail», «Krivulya» etc., and distinctive - in a sophisticated silhouette and texture, large size pershovzorah - «Cossacks», «circle», «ruzhok», «sykachiv», «trails», «Karak» «Plates», etc., Zhytomyr localize products and present in a number of paintings by M. Prymachenko: «Two eagle- hawk on the grave of the unknown soldier» (1965), «The brother and sister go to the grave» (1974), «The Great the glory of the Unknown Soldier «(1971). In passing, we note that Alexander Zhuk connects with a striped pattern compositions continuous occurrence report [2; 36]. This scheme is especially characteristic elongated composition decorative and ritual towels ‘blind’ (3.7 m, at least - 10-12 m) and carpet track («ryadyuzhkam»). Some researchers say that M. Pryimachenko no ethnographic accurately reproduced ornament - a «pryymachenkivski» designs towels, shirts, tablecloths, carpets. However, even these somewhat generalized shematyzovani fancy images depicted on her decorative and ritual towels possible to trace characteristic of Zhytomyr Polissya expressive ornamental-composite features. In the works «Mary kuzhil spun» (1968) and «Sitting woman on the stove, spinning kudelytsyu» (1969) the artist has reflected not only the technological process of making yarn for weaving, but also the important role of ornament in «environmental-spatial» and ceremonial and cosmological sphere of Ukrainian peasants [3; 7]. Apogee empirically and spiritual values reflect the maximum ornament ornamented interior space Polissya traditional houses, household items and apparel, as well as animals and the environment (earth, sky, trees, plants). The painting «Mary kuzhil spun» shows a girl spinner in traditional costumes, consisting of a shirt, skirt and apron. CLOTHING components decorated floral motifs («flower» and their components), which in turn are framed in patterned stripes. Traditional interior fabrics confined towels depicted long «curtains» that distinctly decorate windows (instead of icons or portraits). Doing brush traditional towels, the author managed to convey those distinctive stylistic criteria, reflecting polotenechnaja weaving northern regions of Zhytomyr Polissya. All canvas plane in the picture «curtains» completely zatkana red and black stripes patterned with small accents of white background. Weaving was practiced towels are dominated red and - the dominant black. This type of towels, carpet performed technique characteristic Ovruchsky, Narodychi, Korosten, Novograd Volyn, Zhytomyr Malynsky northern areas [5]. Man-made traditional clothing and interior fabrics, shown in the second figure («woman sitting on the stove, spinning kudelytsyu»), include the following components: Festive garment - a headdress (a scarf, decorated with wavy stripes «moment», «Krivulya») wearable attire (shirt, embroidered with floral motifs), waist dress (skirt and apron decorated with striated patterned stripes), boots; interior fabrics - many towels («blind» - completely zatkani ornamental strips), cloth («intoStolnikov», «table cloth» - decorated with floral motifs), pillowcases («naperniki» embroidered flowers). The traditional set of apparel panel components marked «Roman and Oksana» (1963) «Summer of my younger, stop at least for Kalinov Most, and come to visit me» (1969), «the well» (1969), «Svatav John Galya» (1972), «Vanya horse drinks» (1973), «Ukrainian Beauty» (1975), which shows male and female costumes Polissian with characteristic ornamental motifs with geometric diamond, cross, hooked and stepped forms; as well as fitomorfnymy - vegetable and floral elements sometimes integrated into the motives of trees, pots. The paintings «The incountry bread and salt» (1968), «Oh, go to engagement» (1968), in addition to traditional apparel components present long rushyky «blind» to the traditional linear- striped way of wide patterned stripes with characteristic set of ornamental motifs (broken line, napivromby, stars’ the stars’ flower ‘rose’ ‘ornitomorfni and stylized zoomorphic motifs «birds» «Moth» and others.). It must be emphasized that the panel-posters - «Ukrainian Day» (1976), «Wedding towel» (1988) et al., Woven or embroidered ritual towel is particularly important and is characterized by distinctive majestically solemn Ornamental compositional design. It should be noted essay «Man plowing» (1972), where besides the aforementioned components of traditional apparel, she portrayed girls from «carpeted spare wheels» (mini-mats) with closed centric composite construction belonging to the oldest types of female waist dress. On the existence of «carpet zapasok» in the late nineteenth century. today remember the oldest master textile Zhytomyr Polissya [4]. Technique of performance, features and composite set of ornamental motifs converts these products on carpets in miniature as geometrical patterns steps were apparently taken over by masters of carpet weaving. Weaving was practiced «chute» with open and closed centric linear compositional schemes. In the central plane of the picture «zapasok» contains several geometrical motifs around which the present rhythmic repetition slightly smaller elements with stepped outlines. It is noteworthy that compulsory registration of these products, like carpets, served mainly polychrome patterned border that could obramlyuvaty four, three, or just two sides of the chute - top and bottom or side edges [4]. In this case, there is ornamented borders that surrounds the bottom and two sides of the product. Unlike analyzed above panels, the essay «My younger Summer» (1987) is more schematic and rational konstuktyvnyy. Next graphically painted and ornamented white house sits on stool woman in traditional dress Polissya, and the bridge are rows, facing frontally to the viewer, eight girls in the same dress in corolla (gray-green) and necklace. Conditional stylized clothing girls who embody the intervening decades Pryimachenko M. (evidenced painted plates with numbers 10), not individual components of traditional costumes, so that is associated with archaic tunikopodibnoyu long shirt or dress. All girls dress identical and equally decorated with graphic motifs - flowerpots, consisting of three straight lines placed at the top and bottom of the garment - over double wavy stripes that are on the lap. The bridge, which has eleven columns, thereof, through striated compositional construction and ornamented broad bands, gives the impression as if it postelenyy long homespun mat-ryadyuzhka. As we know, the dominant compositional pattern in traditional woodlands row is striped construction, at least - raportna composition, where instead of polychrome bands are placed around the same cloth background ornamental motifs, in this case - white flower. The motif of flowers of various configurations naybahatoznachnishyh considered one of the symbols in Ukrainian, including Polissya, folk arts and crafts, and that the motive was the most priority Inwork M. Priymachenko. «Ornamental style philosophy plant flowers determining the nature and direction of M. Pryimachenko», which is closely linked, most organically woven with the ancient principles of collective obryadovo- folk arts and crafts [7; 92]. The determining factors are the works of the artist universalization functionality man-made textile products, increased flexibility of forms and imagery by isolating motive motive canonical structure of integrated traditional subject environment. You can not miss the picture M. Pryimachenko «Ukrainian dumplings in sour cream», which depicts two young man in traditional clothing, holding a towel - «blind», which frames placed on a table with a bowl of dumplings (in Polissya interior «curtain», «bozhnyks» icon curtain, as in Soviet times - portraits). A table covered with a tablecloth («towel», «intoStolnikov»), which the central background decorated with a floral garland, and the edges - ornamental wavy stripes and tassels. Fancy set of folk textiles and apparel components includes archaic (stylized artist) geometrical motifs and elements (broken line, diamonds) and continuous flower garland (on the tablecloth) that was probably borrowed from the carpet, because such elements (solid patterned band with rhythmically repetitive dynamic motives, geometrical or floral garlands naturalistically treated) are mostly located in fringe folk rugs centralWoodlands. Playing the traditional man-made fabrics, M. Pryimachenko generally adheres to folk principles of composition and modular placement patterns on cloth background, such as symmetry, striated structure ornamented bands, plastic nature of links between elements proteostanni artist depicted quite sketchy, almost umovno.M . Pryimachenko not copy embroidered or woven patterns and processes them, and simplifies its conventional designs creates own style. Pryymachenkivski ornaments depicted in traditional art woven goods, probably should be called «double-stylized» as a result of the transformation of the artist are modified in the process of weaving the elements of the surrounding world, the objective environment, as well as «transkanonichnyh» (in the terminology of A. Naiden) and sacred cosmological structures People’s collective outlook. For example, often jagged contours broken line in the works of M. Pryimachenko turn into smooth oval contours (similar to ocean waves); diamond and other geometric shapes - a circle or a spherical shape with a dot in the center and more. Remain unchanged fancy woven items such as band, broken line, napivromby, crosses, teeth, stars, buds, leaves and others. Ornamentation Polissya folk art of weaving has been a significant set of archaic motifs, some of which are available in traditional artist depicted interior goods and apparel components. The dominant array of patterns formed on the basis of simple proportional relationship, so that their inherent high degree of geometrization. Notably, ornamental motifs of traditional textiles Zhytomyr Polissya include the following groups: geometric most common and include diamond-shaped, cruciform, zvizdchasti, hooked and serrated shape; fitomorfni - geometrical floral and floral elements, motifs of trees, pots; zoomorphic marked images motive large variety of birds, reptiles, amphibians, arthropods, insects and their elements due to severe geometrization often difficult to recognize. Works of Pryimachenko analysis showed that artist, although not with ethnographic precision, but quite clearly reflected the traditional folk ornaments tissue Polesie. Its panels are mostly plane on the image, but the space painted woven fabric mainly ornamental structured in accordance with local regulations canons. Patterns woodlands apparel and interior fabrics in the analyzed works are largely beyond the established canonical structure, but their ornamentation individually marked. It should also be noted that although the works of M. Pryimachenko fancy present local tradition, but rather they are reflected in the revised form of stylized and somewhat inferior in importance to regional traditional signs.

References 1. Danyleyko V. word about Mary Pryimachenko / ON. Danyleyko // Folk art and ethnography. - 1968. - № 6. - P. 14-23. 2. Beetle A. Ukrainian folk carpets / Alexander Zhuk. - K.: Science. opinion, 1966. - 152 p. 3. Maria Prymachenko. Album Art from private collections. - K.: Orans, 2007. - 344 p. 4. Moysyuk A. Carpet chute Zhytomyr Polissya, technological and fancy features / OS Moysyuk // Ukrainian Culture: Past, Present and ways of development: science. app. RSUH, 2011. Vol. 17, 2 vols. T. 1. - P. 39-43. 5. Moysyuk A. Artistic features woven towels - «curtains» Zhytomyr Polissya the first quarter of the twentieth century. / OS Moysyuk // Ukrainian art history. - K., 2011. - P. 20-24. 6. Naiden A. Motives origin and function of art in Ukrainian folklore / O. Naiden //Arts and ethnicity. - K., 1991. - P. 58-66. 7. Mary Naiden A. Priymachenko. Ornament ornament space and space / O. found. - K.:Stylos. - 2011. - 238 p. 8. Mary M. Rozanov Primachenko / M. Rozanov // Dekoratyvnoe art USSR. - 1965. -№ 3. - P. 26.

Summary Analyzed the system of traditional ornamental interior fabrics and apparel central Woodlands that are depicted in the paintings of Maria Prymachenko. Keywords: weaving, Woodlands, ornaments, works, folk, traditional.

Summary Moisyuk O. Factors of the Polesye decorative pattern are in works of Maria Pryimachenko In Polissya folk weaving materialized basic categories of ethnic culture and embodied the new artistic forms that reflect the processes of transformation. Weaving patterns and names ornaments, embroidered and woven items is a systemic part of a rich and original folklore polishukiv who admired and enjoyed almost Lesya Ukrainian, P. Litvinov, Tychyna, M. Priymachenko. In his compositions M. Pryimachenko leading ideology is a popular fantasy that embodied a certain ethical categories zhyttyestverdzhennya deep philosophy. Her work is a magnificent synthesis of the particular phenomenon of thinking, intuition, imagination and subconscious when created and the release of unprecedented, and sometimes bizarre images, whimsical decorative compositions that reflect the goodness and naive admiration the world. Brilliant artist has created his own artistic style, characterized by a wide range of options decorative, ornamental, landscape and genre compositions with flowers, birds and animals. Getting M. Pryimachenko with other skilled folk artists in Kiev experimental workshops led to the expansion of its plot and thematic range, enriched its means of expression and creative thinking. Since its panels there are elements ornament plant Petrikov (buds, «onion»), folk ceramic murals («comb», «hair») embroidery motifs (’rose’ ’floral motifs), weaving (broken line, patterned stripes linearly-striped structure, ornamented with traditional elements depicted device components and interior fabrics), carpet (different types of geometrical ornament). Analyzed the system of traditional ornamental interior fabrics and apparel central Woodlands that are depicted in the paintings of Maria Prymachenko. Playing the traditional man-made fabrics, M. Pryimachenko, the author emphasizes generally adheres to folk principles of composition and modular placement patterns on cloth background, such as symmetry, striated structure ornamented bands, plastic nature of links between elements, but recent enough schematically depicted artist almost conventional. M. Pryimachenko not copy embroidered or woven patterns and processes them, and simplifies its conventional designs creates own style. Pryymachenkivski ornaments depicted in traditional art woven goods, probably should be called «double-stylized» as a result of the transformation of the artist are modified in the process of weaving the elements of the surrounding world, the objective environment, as well as «transkanonichnyh» (in the terminology of A. Naiden) and sacred cosmological structures People’s collective outlook. Works of Pryimachenko analysis showed that artist, although not with ethnographic precision, but quite clearly reflected the traditional folk ornaments tissue Polesie. Its panels are mostly plane on the image, but the space painted woven fabric mainly ornamental structured in accordance with local regulations canons. Patterns woodlands apparel and interior fabrics in the analyzed works are largely beyond the established canonical structure, but their ornamentation individually marked. It should also be noted that although the works of M. Pryimachenko fancy present local tradition, but rather they are reflected in the revised form of stylized and somewhat inferior in importance to regional traditional signs. Key words: weaving, Woodlands, ornaments, works, folk, traditional ornament, Maria Prymachenko, folk artist, cultural and artistic processes twentieth century, color ethnographic, cultural context, global exposure, creativity, Zhitomir Polissia art analysis.

Annotation Moysyuk O. Factors Polissya the ornament in the works of Maria Prymachenko We analyzed the system of traditional decorative interior fabrics and garments Central Polissya depicted in the paintings of Maria Prymachenko. Keywords: weaving, Polesie, ornaments, works, folk, traditional. Received 12.11.2014

UDC 7.28.68.2 V.V. Skurlov, N.M. Sapphire FABERGE IN THE WORKS OF THE ARTIST (THE 90TH ANNIVERSARY OF HONORED ARTIST UKRAINE VM BRYKULTSYA)

Life ... This turbulent, restless, unstable, unpredictable twists of fate and simultaneously a joyous and happy. The artist that zakarbuvav on canvas lot of characters on portraits, a ray of sun, a rich palette of sky, land and sea. Pictures, glowing inwardly quiet, calm light - flame that does not burn, and warms. The artist loves and understands life because he knows the price. Victor M. Brykulets born 23.11. 1924 in the village. Markivtsi in Khmelnytsky in a wealthy family. Father Michael Yefymovych receiving education in St. Petersburg, besides considerable economy, paid enough attention to books and sophisticated art forms - painting and music. Friendly family atmosphere, full of parental love and high culture, which valued work and reaching out to others, has become the life-giving force that subsequently allowed to prove the strength and depth of talent. Nezatmarene childhood passed. The first family felt shock at the time of expropriation, when his father was tragically killed. And then the Great Patriotic War. In 1943 Victor was forcibly taken to Germany. Behind him came two times - the first, risking their lives, managed to escape, the second - in a freight car carried two years of inhuman existence. But fate the young man had his own plans and she guarded the ward. After he exhausted, exhausted by hard labor and, finally, condemned to death, survived against all odds. 1946 Victor went to Kharkiv. The city presented a future meeting with the artist L. Chernov - Director of the Kharkov Art College. Victor and his older brother Plato were invited to the workshop director and it was a crucial further fate. In the workshop L. Chernova worked his wife - Elena Yakovenko, which in the future become a painting teacher Viktor Mikhailovich. On the recommendation Plyushch, Victor M. attended the workshop Samokisha (1860-1944 gg.), Where he further felt the calling of his chosen professional direction and got help - some of brushes and paints of Nikolai Semenovich. M. Samokish one time worked with Karl Faberge, whose historical figure over time also plays an important role in the life of the artist. Thanks to the responsible approach and careful preparation to enter the school, in 1946, Victor passed the exam and was enrolled in the institution. It should pay tribute to the admission requirements and the high level of teaching. Exams truly constituted only stronger, and the teacher was well respected for his students. Viktor Mikhailovich lucky communicate and study in the constellation of artists to travel on studies of student Makovsky and V. Repin prof. A. Coquelles. Basics of artistic disciplines laid teachers Slipchenko M., L. wick. Performance S. Prokhorov and painting sessions from P. Kotov left a mark in the creative nature of the student. Years of study passed away and began week of continuous work. Arts Viktor Mikhailovich captures the diversity and the ability to transmit mood, instant moment. Paintings (over 6000), covering a group portrait of historical figures Ukraine, labor heroes of the Soviet era and the present. Oda hard work - so you can identify a series of portraits of people of all ages and professions. The artist celebrates female beauty - young and mature woman. In place of beauty young beauty comes inner peace, spiritual fullness, wisdom. These qualities are formed only experience and years. Actually vision of nature reflected in realistic still lifes and landscapes. Light air Crimea peninsula nature, stormy or calm sea, the Carpathians, the Baltics - the artist has devoted a lot of work to places where he directed destiny. The mission of the artist is to fix the date as of the moment, and the prospect of time. In his creative work master «keep records on» history of people doing it. Each era has its own color. Dark, muted, soft, lit candles reflecting more ancient events and people. This is - a series of portraits of prominent people of Ukraine, which influenced the course of history. Breath fanned secret secrets that was taken from them, they look at us mysteriously and at the same time thoughtfully. Portrait «writer D. Guramishvili» (1969), «Portrait of Daniel Apostol» (1994) «Halshka Hulevichivna. Founder of Kyiv-Mohyla Brotherhood «(1997),» Raina Vishnevetskaya «(2008) and others. Calm pastel colors, typical for photographs late XIX - early XX century .: «A. Slastyon artist. Classic Ukrainian Painting «(1997-1998 gg.). Heroes poster graphics realism transformed in the Soviet era, found their honorable place among a series of typecasting working people. The images read self-esteem, sometimes face seal fatigue, sometimes smiling. «Professional» praise of labor, because it is possible through partial realization of human potential. Understanding artist themes brings a high level of every worker and communicates to the viewer believe that there is «important» and «unimportant» «Necessary» or «unnecessary» specialties. Portrait involve both ordinary people and those whose achievements marked at national level. A characteristic feature of filing the characters is that their image or filed in a professional or a Ukrainian national dress. Works «Hero sotspratsi A. Baluk, milkmaid» (1977), «Portrait of Vladimir Yurchenko Driver» (1982) «The district police Major Mirgorod district MI Potsyapun» (1982), «A. Koziyenko Musician» (1983), «D. Shostakovich «(1985),» Master woodcarving V. Kvasha «(1987),» People’s poet K. Litvinenko «(1993),» Honored Doctor of Ukraine N. Miller «(1996 .) «Writer A. Dymarov» (2009), «architect F. Krichevsky» (2006), «Dr. B. Bersenyev» (2006) and many others. Black and white documents expressive palette of images displayed using graphs, where imagination fades into the background, leaving us alone with the character portrayed - «A. Kryvoruchko prisoner camp «Sachsenhausen» (1985), «I. Gurin «(1986),» V. Hryshko engineer «(1988) «Hetman Bohdan Khmelnytsky Ukraine» (2006), «The Poet and philosopher G. Pan» (2006) «Patriarch Mstislav» (2006) and others. A separate page specified in C. career Brykultsya International K. Faberge Memorial Foundation, whose history begins in 1997 elected Honorary Chairman granddaughter of Carl Faberge - Tatyana Fedorovna Faberge (Geneva, Switzerland). The main objectives of the Fund are to memorializatsiyi memory K. Faberge, research and publishing activities related to the history of famous jewelry company. Close cooperation with the support of the Foundation Scientific Secretary V. K. Faberge Skurlova (St. Petersburg) continues nearly 10 years. From the records of V. Skurlova «I met with Viktor Mikhailovich in September 2005, and Portrait of Tatyana Fedorovna and my Oleg Rudakov commissioned in May 2005. Before my arrival they were made.» K. Faberge is known other than stores in St. Petersburg, Moscow, London, opened stores in Odessa and Kiev. Odessa Branch worked successfully from 1901 to 1918, in Kiev - from 1906 to 1911 [4]. Kyiv at that time was the industrial and financial center, according to the calculations were wealthy clientele. But the city has focused a large number of shops and jewelry stores. As of 1902 in Kiev, the number was 92 [2; 64]. One of the most successful not only in Kiev but also in South-Western part of the Russian Empire was a factory jewelry J. Marshak. There is speculation that this was the reason the closing K. Faberge shop in Kyiv in 1911 Research work on the activities of branches led to the launch in 2008 of the project «Ukraine and Faberge» [4]. He commissioned the painting «K. Faberge in Odessa «in 2006, which was the beginning of a series of paintings on the theme» Faberzhiany. « The project B. Brykulets executed several works: «Tatyana Fedorovna Faberge» (2005) «Portrait Skurlova Valentine» (2005), «K. Faberge Odessa «(2006),» K. GM of Faberge in 1918 «(2006),» Tatiana Faberge «(2008),» Carl Faberge sons «(2009),» Portrait of Carl Faberge «(2010),» Carl Faberge Kyiv «(2013),» Portrait of Franz Birbauma (against Alpine rocks 1930s.) «. According to the granddaughter of the great jeweler Tatyana Fedorovna portrait «K. GM of Faberge in 1918 «as the best of existing and occupied a place of honor on the logo of the Foundation. 2012 was painted Portrait of Globa - Director of the Stroganov School (Moscow, 1895- 1917), which collaborated E. Faberge (son of Karl Faberge) in the years of exile in Paris. Portrait of Globa Skurlovym V. donated the Poltava Art Gallery. Reproductions of paintings by Viktor Mikhailovich topics Faberge published in books Skurlova V. (co-author) «K. Faberge and prodolzhately ego «(2009) [5],» Michael Perhyn - yuvelyr firm Faberge «(2011) [6],» K. Faberge and Petersburg yuvelyrы «(2012) [7],» Agathon Faberge in Petrograd the Beautiful «(2012) [1]. In the journal «Antykvarnoe Review» (2009) and «Russian yuvelyr» (2009 and 2014), he dedicated personal article. Paintings also published in Ukrainian jewelry and antique magazines. Arts Victor Brykultsya known throughout the jewelery community of post-Soviet space. Work VM Brykultsya exhibited and are in the collections of many museums in Ukraine, private collections in Ukraine, Russia, USA, Canada, Finland, Germany, Israel, Switzerland, Bulgaria, Australia. Viktor Mikhailovich marked Merit Diplomas of the Cabinet of Ministers of Ukraine, oblast (Poltava and Mirgorodskoy) councils. He - a member of the National Union of Artists of Ukraine (1999), Honored Artist of Ukraine (2007). 2006 for the implementation of artistic image in the series K. Faberge works awarded the Order of Karl Faberge third degree from the International Memorial Fund in his name. Victor M. - holder of other orders of the Fund, the Order of the Ukrainian Orthodox Church «Cossack glory», «For Merit» III degree, winner Mirgorodskoy literary and artistic prize. A. Shevchenko, «Honorary Citizen. Mirgoroda» winner citywide Rating «Man of the Year - 2008». For the implementation of artistic image of Karl Faberge, his family, descendants and other historically related persons B. Brykulets awarded the Order of Carl Faberge third degree marked other awards this fund. Well-known experts and critics (member of National Unions of Writers and Journalists of Ukraine N. Vinogradova-Harasaylo (Mirgorod) candidate. Art. Expert assessment artistic values of, scientific secretary of the International Memorial Fund V. K. Faberge Skurlov (St. Petersburg) art G. Semeniuk (Donetsk) and Fedorov (St. Petersburg) has repeatedly highlighted the career of an outstanding artist.

References 1. Agathon Faberge in Krasny Petrograd. Nauch.-yllyustr. edition / Avt.-comp. Rupasov AI, Skurlov VV, Faberge TF, Bernev SK - St. Petersburg. : Faces of Russia, 2012. - 280 p. : Ill. 2. J. G. Arustamyan jewelry factory Joseph Marshak [Text] / G. Arustamyan // Monuments decorative art from the collection of the Museum of Historical Treasures of Ukraine - Affiliates Nat. Museum of History Ukr .: Coll. Science. pr. - K., 1993. - P. 63-74. - Ref. : 14 titles. 3. Victor Brykulets: Album. - SPb. : Faces of. - 2009. - 176 p. : Ill. 4. Chapter 12. Orders Faberge Memorial Fund. The «Ukraine and Faberge» / Avt.-comp. V. Skurlov. - K., 2013. - 28 p. : I ll. 5. Skurlov V. Carl Faberge and ego prodolzhately. Kamnereznыe n fyhurky types. Scientific and yllyustryrovannoe edition / Skurlov VV, Faberge TF, Ylyuhyn VN - St. Petersburg. : Faces of. - 2009. - 640 p. : Ill. 6. Michael W. Skurlov Perhyn - yuvelyr firm Faberge. Order Kavalerы Mikhail Perhyna /V. Skurlov, TF Faberge Demkyna ES, SI Kvashnin. - SPb. : D.A.R.K. - 2011. - 200 p. : Ill. 7. TF K. Faberge Faberge and Petersburg yuvelyrы: Sat. memuarov, articles, arhyvnыh documents on the history of Russian art yuvelyrnoho / TF Faberge A. Horыnya, VV Skurlov. - SPb., 2012. - 712 p.

Summary We analyze the life and career of Honored Artist of Ukraine Victor Brykultsya. Tags: Victor Brykulets, painting, international Karl Faberge Memorial Foundation.

Summary Skurlov V., Sapfirova N.To the 90 year of the deserved artist of Ukraine In. М. Brikuletc. Carl Fabergé. is in work of artist We analyze the life and career of Honored Artist of Ukraine Victor Brykultsya to mark its anniversary, highlights the spiritual atmosphere of his family, who lived in Khmelnytsky and had a significant influence on the personality, artistic environment that brought the future artist, years of training and competition of artistic education. The attention on the teaching staff of educational institutions, which attained professional skills upcoming artist reveals the system of organization of the artistic process, the artist shows the creative relationship with prominent people. The article analyzes in detail the artistic works produced in different years living and reproducing the artist’s attitude to the environment and the social and cultural processes witnessed by him. The attention paid to the color scheme of the artist and the specifics of its use in art works of various social direction. A separate page is inscribed in the career of artist V. International Brykultsya K. Faberge Memorial Foundation, whose history begins in 1997, according to the article. The main objectives of the Fund are to memorializatsiyi memory K. Faberge, research and publishing activities related to the history of famous jewelry company and its founder. Close cooperation with the support of the Foundation Scientific Secretary V. K. Faberge Skurlova (St. Petersburg) continues nearly 10 years and provides its artistic result. It is noted that it was Victor Brykulets launched a series of paintings about the life and work of the famous jeweler Carl Faberge for which it was created and memorial fund. The article art analysis of these and other pictures related to artistic practice in Russia and Ukraine. Work VM Brykultsya, emphasized by the author, and are exhibited in the collections of many museums in Ukraine, private collections in Ukraine, Russia, USA, Canada, Finland, Germany, Israel, Switzerland, Bulgaria, Australia, giving information not only about famous people of our time but also about the artistic potential of local artists. Key words: Victor Brykulets, painting, education, artistic environment, international Karl Faberge Memorial Foundation, art, artist, hero of the day, the artist in the XX-XXI century arts, palette, exhibition activities.

Summary Skurlov V.V, Sapphire N.M. Carl Faberge in the artist (on the 90th anniversary of the Honored Artist of Ukraine VM Brykultsa) We analyze the life and career of Honored Artist of Ukraine Victor Brykultsa. Keywords: Viktor Brykulets art, an international memorial fund Faberge. Received 11/25/2014

UDC 016: 008 N.S. Dyachenko SERIES BIBLIOGRAPHIES «IMPORTANT DATES KNUKIM»

Scientific Library of Kyiv National University of Culture and Arts in 2012 for the first time established a series of Bibliographic indexes «important dates KNUKiM» dedicated to the 45th anniversary of the founding of the university and important dates of its business units. The first issue in the series devoted University Scientific Library, entitled «Library - the world of knowledge» (2012). The second edition of the series was released called «combined love of Ukrainian songs» and dedicated to the 40th anniversary of the Department of National Choral Singing (2013). Compiled bibliographic aids are OO Skachenko Head. Sector methodical work Scientific Library KNUKiM and V. Tkachenko, p. lecturer in folklore, folk-song and choral singing, which set out to acquaint with the history department and comprehensively reveal the scientific and artistic activities of its faculty for 40 years (1972-2012 gg.). Index includes descriptions of individual publications, publications in collections, periodicals, journals, continuing, materials of scientific conferences. Total 1399 contains bibliographic records (continuous numbering them). Bibliographic index includes 7 chapters, reference device applications. The first chapter «Congratulations hero of the day» offers congratulations on the anniversary of the Department KNUKiM rector, prof. M. Poplavskiy, dean of music professor. N. Broyako and graduate of Kyiv State Institute of Culture. O. Korniychuk, now Honored Journalist of Ukraine, General Director of «National newspaper and magazine publisher» A. Bilash. The second chapter of «The History and Present» contains essays on historical glorious pages in the 40-year-old chair of the national choir, established in 1972 in the essay emphasizes the relevance of this landmark event not only for the University but also in the cultural life of Ukraine. This section reveals areas of department staff evaluated the role of heads of department in a given period, successful projects to create art groups, describes the graduates whose names are known in Ukraine due to their professional work. About student art groups referred to in the third chapter «Artistic and creative activity of the department.» The fourth section «Basic printing of teachers’ personalities based on the teaching staff of the department, distributed in 5 departments: music and folkloristic teachers, choral conductor, vocal and choral, instrumental and orchestral disciplines accompanist. Within each unit materials are in alphabetical order the names of personalities, and personalities within traditionally presented: Biography, list of major scientific works of authors and their works list research and creative activity. Bibliographic records of publications submitted by the types of documents and the chronology of their publications, and within a year - in alphabetical order the names or titles of publications. The contribution to the training of teachers of faculty researchers traced the fifth chapter «The scientific school of the department», which contains bibliographic descriptions of dissertations protected under the guidance of teachers and their opposing. The positive is also annotated list of audio-SD- discs recorded art department staff, who placed sixth in the «Discography creative teams.» The last section of the index includes bibliographical descriptions of publications on the artistic activities of the department. This - reviews. Reviews posted chronological order (within the alphabet in the names of authors and titles); a separate section at the end of the description of electronic documents. The third edition of the series «important dates KNUKiM entitled» Masters of Choral Art «(2013). Bibliographic index dedicated to the 45th anniversary of the Department of choral conducting. Compilers - A. Skachenko Head. Sector methodical work Scientific Library KNUKiM and N. Krechko, Honored Artist of Ukraine, prof. KNUKiM uncovered areas of the department, contribution to the development of choral singing Kyiv and Ukraine. Thematic aim was to systematize information about the history of the department, its faculty publications in 45 years of activity. The structure of this issue is similar to no. 2 and includes six chapters, reference device applications; Only 619 contains bibliographic records. In the first chapter of «History and Present» presents prominent figure sketch Academic Ukrainian choral art I. Gamkalo, corresponding member of IAB Ukraine, professor and Article N. Krechko - Honored Artist of Ukraine, Professor, which highlights the contribution of the teaching staff of the department the formation and development of the modern school of choral art in Ukraine. The section provides information about the best graduates. In the «artistic and creative activity» gathered information on all the artistic groups of the department. The third section «Basic printing of teachers’ comprises three divisions in which personalities presented in alphabetical order of surnames: teachers conducting and choral, vocal and choral disciplines accompanist. Within each department submitted biographical information, a list of major scientific works and a bibliography of scientific and artistic activities of teachers. Bibliographic records of publications submitted by the types of documents and publications of their chronology, and within a year - in alphabetical order the names or titles of publications. The fourth section «Scientific School», as in the previous release contains bibliographic descriptions of dissertations protected under the scientific supervision of the department and for their resistance. The next section «Discography creative teams» contains an annotated list of CD-ROMs, written academic choir «ANIMA». The sixth section «Publications Department of creative activity» includes ratings and reviews part of the department and its artistic collectives in concerts, international and national festivals and competitions. Help apparatus Vol. 2-3 bibliographic index includes a preface «From the drafters’ and auxiliary signs:» Index of persons included in the bibliographic index « «Index of names of individual teaching faculty publications», «Index of names of local electronic resources» (2nd vol.), «Name index» and a list of abbreviations content. Note lucky and catch epigraphs to each chapter both editions of the series. Bibliographic indexes prepared in a professional manner, well decorated, containing photographs of the faculty departments and student art groups. The drafters noted that the user does not claim sole completeness, selection completed in June-August 2012 In compiling bibliographies used funds KNUKiM electronic catalog of the library, Internet, archives of individual authors. The second and third issues of the series Bibliographic pointers «important dates KNUKiM» can be recommended for participation in the competition Ukrainian Library Association «Bibliographic Index Year».

Summаry Duachenko N. Series of biobibliographic pointers «Sign of date of KNUKiM» Key words: Bibliographic Index, National University of Culture and Arts,

Summаry Duachenko N. Series of biobibliographic pointers «Sign of date of KNUKiM» Revealed fragments of organizational Scientific Library of Kyiv National University of Culture and Arts particular emphasized launching a series of publications Bibliographic pointers «important dates KNUKiM» dedicated to the 45- th anniversary of the founding of the university and important dates of its business units. The first issue in the series is dedicated to the scientific and university library entitled «Library – the world of knowledge» (2012). The second edition of the series was released called «combined love of Ukrainian songs» and dedicated to the 40th anniversary of the Department of National Choral Singing (2013). Index includes descriptions of individual publications, publications in collections, periodicals, journals, continuing, materials of scientific conferences. Total 1399 contains bibliographic records (continuous numbering them). Bibliographic index includes 7 chapters, reference device applications. Analyzed Forums Bibliographic this index. The third edition of the series «important dates KNUKiM» entitled «Masters of Choral Art» (2013). Bibliographic index dedicated to the 45th anniversary of the Department of choral conducting. Thematic aim was to systematize information about the history of the department, its faculty publications in 45 years of activity. The structure of this issue is similar to no. 2 and includes six chapters, reference device applications; Only 619 contains bibliographic records. Help apparatus Vol. 2-3 bibliographic index includes a preface «From the drafters’ and auxiliary signs: Index of persons included in the bibliographic index», «Index of names of individual teaching faculty publications», «Index of names of local electronic resources» (2nd vol.), «name index» and a list of abbreviations content. Key words: Bibliographic Index, National University of Culture and Arts, science, finding aids, bibliographic series, thematic issues, classification, applications.

Summаry Duachenko N. Series of biobibliographic pointers «Sign of date of KNUKiM» Key words: Bibliographic Index, National University of Culture and Arts. Received 21.11.2014 INFORMATION ABOUT THE AUTHORS Afanasiev S.N. - Honored Artist of Ukraine, associate professor of Kyiv National University of Culture and Arts. Afanasyev Y.L. - Doctor of Philosophy, Professor, Head of the Department of Fine Arts and Design Kiev University. B.Grinchenko. Bass O.M. - Ph.D., associate professor of Lviv National Music Academy. Lysenko. Bermes I.L. - Doctor of Arts, Professor Drohobych State Pedagogical University. Franko. Bilozerova O.V. - Seekers Eastern National University. Lesya Ukrainian. Belous A. - postgraduate student of Lviv National Academy of Arts. A.V. Bozhenskyy - Teacher Drohobych State Pedagogical University. Franko. M. Brown - Postgraduate student of Lviv National Music Academy. Lysenko. Velichko O.B. - Ph.D., assistant chair of music at Lviv National University. Franko. V.G. Vytkalov - Ph.D., Professor, Head of Department of Cultural Studies and Museology Rivne State Humanitarian University. Vytkalov S.V. - Ph.D., associate professor of RSUH. Gdansk S. - postgraduate student of National Music Academy of Ukraine. Tchaikovsky. Peas G.S. - Teacher Art Institute RSUH. N.O. Demyanova - Postgraduate Eastern National University. Lesya Ukrainian. DEMYDKO O.A. - Postgraduate Mariupol State University. Dobina T.G. - Postgraduate Mariupol State University. Draganchuk V.M. - Ph.D., associate professor of Eastern National University. Lesya Ukrainian. Duda L.I. - Postgraduate Carpathian National University. Stefanik. Dundyak I.M. - Ph.D., associate professor of Carpathian National University. Stefanik. Stuffy A.I. - Ph.D., associate professor of Drohobych State Pedagogical University. Franko. Dyakunchak Y. - concertmaster Drohobych State Pedagogical University. Franko. Dyachenko N.S. - Ph.D., associate professor KNUKiM. Eltek I.S. - Postgraduate student of Lviv National Music Academy. Lysenko. Elisha K. Yu - concertmaster of the Kiev College of Culture and Arts. A.V. Efimov - Postgraduate student of Lviv National Academy of Arts. Zahnitko K.M. - Postgraduate student of Lviv National Music Academy. Lysenko. Zinkiv I. - Doctor of Arts, Professor of Lviv National Music Academy. Lysenko. Kavunnyk O.A. - Ph.D., associate professor of Nizhyn State University. Gogol. Karas G.V. - Doctor of Arts, Professor Carpathian National University. Stefanik. Karchova Y.I. - Postgraduate student of Kharkiv State Academy of Culture. Kislyak B. - postgraduate student of Lviv National Music Academy. Lysenko. Korzh-Radko L.A. - Associate Transcarpathian Art Institute. Kornutyak A. - Postgraduate student of Lviv National Music Academy. Lysenko. Koropenko M.V. - KNUKiM seekers. Kraylyuk L.V. - Ph.D., associate professor of RSUH. Kurylyak I. - postgraduate student of Lviv National Music Academy. Lysenko. Lastovetska Z.M.-Solanska - Ph.D., associate professor of Lviv National Music Academy. Lysenko. Lastovetskyy M. - Associate Drohobych State Pedagogical University. Franko. Lehkun A.G. - Ph.D., associate professor humanitarno- Kremenets Pedagogical Institute. Taras Shevchenko. Bondarchuk A.A.-Lesik - Candidate of architecture, associate professor of Dreams them. Lesya Ukrainian. Left N.V. - Ph.D., associate professor of Vinnitsa National Pedagogical University. Kotsyubynskoho doctoral KNUKiM. B.B. Lobachuk - Postgraduate student of Lviv National Academy of Arts. O. Marach - Ph.D., senior lecturer of Dreams them. Lesya Ukrainian. Merlyanova O.A. - Ph.D., associate professor KNUKiM. A. Moysyuk - Fellow of the Institute of Art Studies, Folklore and Ethnology. M. Rila National Academy of Sciences of Ukraine. Oborska S.V. - Ph.D., associate professor KNUKiM. D. Oliynyk - senior lecturer of Lviv National Music Academy of Arts. Lysenko. Oleynik N. - Postgraduate student of Lviv National Academy of Arts. Oleinik O. - Ph.D., associate professor of Lviv National Music Academy. Lysenko. V.F. Ohmanyuk - Ph.D., associate professor of Dreams them. Lesya Ukrainian. Pankiv MV - Associate Professor of Lviv National University. Franko. VG Plakhotnyuk - Ph.D., Associate Professor Nicholas branch KNUKiM. Pogrebnyak GP - Ph.D., professor NAKKKiM. Protsyk L.L. - Ph.D., associate NEA them. Dragomanov. T.I. Rosul - Ph.D., Associate Professor of Uzhgorod National University. Sapphire N.M. - Member of the International Memorial Fund Karl Faberge. Sinkevich N. - Ph.D., associate professor of Lviv National Music Academy. Lysenko. V.V. Skurlov - Ph.D., an expert assessment of artistic treasures Ministry of Culture and Mass Communications, scientific consultant on Faberge Auction House «Christie», scientific secretary Karl Faberge Memorial Foundation. Stepanchuk T.A. - Post-graduate University of Dreams. Lesya Ukrainian. Tadla A.M. - Senior Lecturer KNUKiM. Tarchynska Y. - Ph.D., associate professor of RSUH. Savchuk Fedornyak-N.B. - Postgraduate Carpathian National University. Stefanik. Fisher T.P. - Master of Lviv National Music Academy. Lysenko. Frayt O.V. - Ph.D., associate professor of Drohobych State Pedagogical University. Franko. Hotsyanovska L.F. - Honored Artist of Ukraine, Associate KNUKiM. Turcan K.S. - Postgraduate student of Lviv National Academy of Arts. Chen Nanpu - seekers Lviv National Academy of Arts. Lysenko. Chyher OO - Postgraduate Carpathian National University. Stefanik. Shkurenko TV - KNUKiM seekers. Yakimova O.A. - Postgraduate student of Lviv National Academy of Arts. A.V. Yakovlev - The candidate of historical sciences, professor, doctor of the National Academy of Culture and Arts. TABLE OF CONTENS

V. Vytkalov. Ukrainian cultural space is in new social and political realities

Chapter I. HISTORICAL AND ARTISTIC HERITAGE OF UKRAINE IN THE CONTEXT OF THE WORLD CULTURE

О. Оlijnyk. Оn the question of paleolithic – bronze musical instrument reconstruction within the territory of Ukraine I. Zikiv. Zither of vertical method of holding of time of middle Ages – Baroque in the east Europe measuring Chen Nanpu. Regarding the issue of Chinese central Asian musical and instrumental connections (based on percussion instruments) D. Olijnyk. Key mechanism-based straw-fiddles and glass harmonicas in European musical culture of ХVІІ-ХІХ centuries K. Zagnitko. Features rhythmic interpretation of Gregorian chant B. Lobachuk. Тhe ikonography features of «Тhe transfiguration of Сhrist» (ХІV century) from the church of the nativity in Вusovysko village K. Yeliseyeva. Musical collection of Razumovsky is in the process of cultural heritage of Ukraine I. Dunduak. History of Ukrainian Church art of the second half of the 20th century: Church monuments and art critic publications Liva. To the Problem of Reception of Ancient Sacred Music in European and National Art Culture in the XXth century Velychko. The retrospective discourse of instrumental fulfillment of Western Ukraine at the end of nineteenth – at the beginning of the twentieth century M. Lastovetski. The Party of Trumpet in Petro Tchaikovsky’s Orchestral Works O. Bassa. Chamber and vocal music of Y. Yaroslavenko and V. Bezkorovayny in Ukrainian musical culture O. Legkun. Аmateur groups activities of Kremenechchyna in20-30 years of the 20th century T. Rosul. Тhe activity of uzhgorode musical-dramatic society «Вoyan» (after materials of periodicals of that time) G. Goroh. Vokal and choral link as a phenomenon in the choral art in the ІІ half of ХХ century (on the example of the Rivne area) T. Fisher. Сoncert life in lviv during the nazi occupation in the press light L. Protsik. Ukrainian realistic drama is on theatrical to the stage of the National theatre the name of And. Franco O. Demidko. Mariupol state Greek theatre In cultural and art space of North Priazov’a (1932-1937) T. Dobina. B. Lyatoshinskiy: three hypostasiss of one talent V. Draganchuk. The Unmastered lessons of European history or Ukrainian national idea of organizations of are in literary – musical diskyrs («Zahar is golden of Eagle» And. («Zahar is golden Eagle» And. Franco – «Gold Hoop» of B. Lyatoshinsky) S. Afanasyev. Alexander Dumas’ novel «The Lady of the Camellias»: national and foreign experience of embodiment of the world famous literary classics on the ballet stage I. El’tek. Musical interpretations of poetry of Ivan Franco in work of Victor Kaminsky O. Frayt. Piano Works of Ukrainian composers in the scientific and publicist heritage of V. Vytvytsky Y. Karchova. Collection is the «Best songs» of Rajyisa Kirichenko: feature vocally-performance of style E. Bilous. Lviv school of artistic glass is through the prism of activity of the special department of the National academy of arts A. Kornutyak. Lviv National academic theatre of opera and ballet the name of S. Kruchelnitska (1900-2014) Z. Lastovetska-Solanska. Sociocultural Queries in Projection on Composer’s Creation of Modern Ukrainian Composers G. Karas. Choral Shevchenkiniana of composers of the Ukrainian diaspore L. Duda. Тransformation of the ballad genre in the creativity of bandurysts of Ukraine and ukrainian abroad O. Chyger. Role of the mass media in the promotion of diaspora singers activity I. Вermes. «Zolotoverkhyi Kyiv» in the festival movement during Ukraine’s Independence S. Vitkalov. Artistic festival as form of patriotic education in the conditions of cultural expansion O. Kavunnyk. Creativity artists of Nizhyn as socio-cultural locus of Ukraine on the verge of century Chapter ІІ. THE ORETICAL AND ARTISTIC ASPECTS OF THE UKRAINIAN CULTURE

O. Yakovlev. Sinergistical model of cultural development of ukraine in time of globalization Afanasyev. Artistic education and cultural and art practice: achievements and problems Y. Tarchynska. The metatext of the piano music and the individual style of the composer and pianist (on the example of works of Rachmaninoff) O. Bilozerova. Structure of argumentation musically critical to text (on material of reviews of Yu. Сhekana and Yu. Benti) Ohmanyuk. Methodological bases of modern ethnic musikologists researches T. Shnurenko. Research of traditional shirt of region of Carpathians is on the pages of magazine «Folk work and ethnography» K. Tsurkan. Research of artistic Text. of Ukraine in the special literature as the article of scientific search S. Gdanski. Ornament as the impressive means in classical concerts for clarinet Synkevych. Тheoretical and methodological principles of systematization of social and cultural functions of the ukrainian choral art Marach. The chamber choral performing: the tendencies of development in Independent period (by example of Western region of Ukraine) M. Bura. Vestibule-orchestral performance: typology, semantics and communicative specific I. Kurylyak. Dramatic function of the chorus in the opera Peter Sokalski B. Kyslyak. Transcriptions of works byclassical musicfor bayanas a factor of academic performing N. Fedornuak-Savchuk. Ukrainan folklore and its transformation in the performing art of Vasil Рopadyuk V. Plahotnyuk. Tendencies of becoming of vaudeville synthesis of arts L. Khotsyanovska. Expressive opportunities of abstract dance O. Melanova. Choreographic aspects of traditional Ukrainian rites Abstract G. Pogrebnyak. Authorial cinema as unique model A. Yefimova. Features of implementation current trends in urban art in Western Ukraine.The contemporary monumental art practices O. Lesik-Bondarchuk. Spacious and planning solutions of XVII-XVIII ct Volyn stone monasteries N. Demyanova. Factors of influencon the evolution of ethnostilistic in the art of Ukraine: a historical perspective L. Korzh-Radko. Unknown world of graphic images of Transcarpathian sculptor Bogdan Korzh O. Yakymova. Influence of world view anthropocentric conceptions on development of the monumental painting (on the example of stained-glass window East Galychina of first third of ХХ of century) N. Olijnyk. Representation of traditional principles in the creativity of Artist of Decorative Arts M. Myha T. Stepanchuk. The semantic and communicative characterizations is in modern to painting of Volyn (on the example of work of young artists) M. Koropenko. Innovative receptions of Kazymyr Malevich in modern technologies of design S. Oborska. Тhe design concept of the interior creating in the leisure and recreation institutions A. Tadlya. Specific features compere in a conversational genre on stage

Chapter ІІІ. SUMMARIES, REVIEWS, REPORTS

Y. Dyakunchak. Essays commonplace, accordion repertoire in publications in Western Ukraine XXI century А. Dushni, А. Bozhenski. Drogobychyna as a scientific institution bayan-accordion movement in Ukraine of the XXI century M. Pankiv. Figurebayan-accompanists in theculturalareaofthe XXI century L. Krailyuk. Nile of Hasevych and Ukrainian book graphic arts And halves of ХХ of century O. Moisyuk. Factors of the Polesye decorative pattern are in works of Maria Pryimachenko V. Skurlov, N. Sapfirova. To the 90 year of the deserved artist of Ukraine In. М.Brikuletc. Carl Fabergé. is in work of artist N. Duachenko. Series of biobibliographic pointers «Sign of date of KNUKiM»