National Academy of Managerial Staff of Culture and Arts Herald最新文献

{"title":"Metamodernism as a New Paradigm of Modern Cultural Practices","authors":"Olena Hubernator","doi":"10.32461/2226-3209.1.2023.277643","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277643","url":null,"abstract":"The purpose of the article is to reveal the features of metamodernism as a new paradigm of modern cultural practices. Research methodology. The method of critical analysis, the systemic method, the structural and formal method, as well as the method of systematisation and generalisation were applied, which contributed to the examination and scientific justification of the concepts of metamodernism, the identification of the characteristic features of cultural practices in the paradigm of metamodernism, and the awareness of their new aesthetics. Scientific novelty. The post-postmodernist discourse in the context of modern cultural theory has been studied and the main theoretical concepts of metamodernism are analysed. The concept of \"metamodernism\" has been clarified; attitudes have been considered and the main features of cultural practices in the paradigm of metamodernism have been revealed. Conclusions. Metamodernism is a new paradigm dominated by the ethic concerned with the search for authenticity and defining the foundations of being in ways that allow the fragmented self to integrate into new configurations of meaning. At the same time, metamodernism represents a change in milestones that corresponds to the cultural and historical process. According to the concept of metamodernism, modern cultural practices do not abandon the characteristic genres and techniques of postmodernism, but offer their own approaches to their use. Features of cultural practices in the paradigm of metamodernism are: departure from rigid personification, utilitarianism and spiritual alienation; overcoming discrete consciousness and individualism; a shift in emphasis from the tendency to destruction to a meaningful desire for contemplation, for reconstruction, and a holistic worldview; overcoming old concepts, the evolution of ideas and respect for history, the world and ourselves; the formation of a new, integral, syncretic consciousness, which is capable of global understanding, responsibility, and socially useful activity. The innovation of the cultural practices of metamodernism consists in stimulating the work of imagination – in the theoretical and practical discourse of metamodernism, new ways of working with the emotionality and imagination of the viewer are considered through the prism of atmosphere and immersion. \u0000Key words: metamodernism, postmodernism, cultural paradigm, cultural practices, sensuality, immersive environment. \u0000 ","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"42 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114096182","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Zoia Gaidai’s Participation in Music Competitions under the Soviet Totalitarianism in 1930s","authors":"O. Katsalap","doi":"10.32461/2226-3209.1.2023.277686","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277686","url":null,"abstract":"The purpose of the article is to investigate one of the aspects of the professional activity of the Ukrainian singer Zoia Gaidai in the 1930s, namely her participation in music competitions during the establishment of the Soviet totalitarian regime. As part of the research, we aim to show the specifics of their organisation and holding, the scale of those creative events, and their significance for the professional development of the professional singer. The research methodology consists in the application of the source study method to analyse archival documents that contain information about Zoia Gaidai’s participation of in music competitions, as well as to study other materials on the topic of the research. The specifically historical method helps to highlight the socio-political processes against which the music competitions took place. The bio-bibliographic method enables determining the place of this aspect of the singer’s activity in her creative biography. General scientific methods (analysis, synthesis, generalisation) are applied in order to thoroughly study the issue and draw reasoned conclusions. The scientific novelty of the paper consists in the expansion of information about Z. Gaidai’s creative activity in the 1930s, which was supplemented by her participation in music competitions, in the assessment of the level of these competitions, their specificity and opportunities for the achievement of professional aspirations. Conclusions. The performed analysis and evaluation of the results of Z. Gaidai’s participation in the music competitions of 1933 and 1937 helped to reveal the level of her professional competence and professional aspirations. Despite the challenges of those difficult years, the singer managed to win the laureate title of the All-Ukrainian and All-Union competitions, which had a positive effect on the development of her career as a performer. However, the political situation in the USSR did not contribute to the fruition of the dreams to study in Italy, thereby depriving the Ukrainian artist of the opportunity to improve her professional skills and test her talent on the international stage. \u0000Key words: Zoia Gaidai, music competitions in the USSR in the 1930s, the Great Famine of 1932–1933, ideological charge.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123958624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Оrganisation of Tourist Activities in Natural Landscapes of Post-War Period","authors":"N. Shevchenko","doi":"10.32461/2226-3209.1.2023.277637","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277637","url":null,"abstract":"The purpose of the article is to research and justify the content of tourist activities in natural landscapes, in particular on the basis of speleological resources in the post-war period. The research methodology is based on the principles of socio-cultural and polysystemic analysis, comparative and structural-systemic methods of scientific knowledge, which make it possible to consider the trends of tourism development in the post-war period and to find out the specifics of the organisation of tourist activities in speleological landscapes. The scientific novelty of the study is determined by the actualisation of attention to recreational activities in natural complexes, in particular speleological ones, since speleological tourism activities in war and post-war time can be considered as a natural model of emotional stress relief, adaptation to unusual conditions and prevention of negative changes in physical and mental health. Conclusions. Doing various tourist recreation in the natural landscapes of the post-war period should take place on the basis of environmental protection and familiarity with local cultural traditions. When designing tourist and recreational parks based on speleological and spelestological sites, a set of functional zones is determined on the basis of the socio-cultural and natural features of the territory. \u0000Key words: tourist activity, natural landscapes, speleological sites, post-war period.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124907152","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Historical Retrospective of Forming Fine Arts Marketing","authors":"D. Akimov","doi":"10.32461/2226-3209.1.2023.277649","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277649","url":null,"abstract":"The purpose of the article is to research and analyse the development of marketing technologies in the fine art market from the ancient times to the beginning of the 21st century. The research methodology consists in the application of comparative, empirical, and theoretical methods. This methodological approach allows analysis of the formation process and the history of the development of fine art marketing, conducting a research of marketing processes during the promotion of works of art on the art market at different periods of human history. The scientific novelty consists in expanding ideas about the fine art market. The article explores for the first time marketing processes on the art market from the ancient times to the beginning of the 21st century. The article analyses for the first time the problems that were formed and overcome during the history of the emergence and development of marketing in the field of culture and art. Besides, for the first time, the theoretical foundations of fine art marketing and the ways of their practical implementation are analysed. Conclusions. The conducted analysis allowed us to determine that even before the emergence of the modern art market as an element of the general capitalist market, the movement of works of fine art already thousands of years ago, in the ancient times contained elements of marketing approaches and technologies. This movement was caused by the processes of sale and purchasing, exchanging, and collecting works of art. In particular, we are talking about the precursors of marketing approaches and technologies aimed at a kind of satisfaction of the demand for works of fine art in society; organisation of classification and collection of works of fine art; examination of their quality and originality; determining the methods of works of art promotion in society. All these methods were already available at that time. In general, we can talk about the existence before the emergence of the modern art market of works of fine art, the so-called «wild market», which in a certain way \"regulated\" the processes of the movement of works of art in society. \u0000Key words: art marketing, art market, works of art «wild market», marketing technologies.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"2260 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127473851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Mykola Lysenko and Yakiv Hulak-Artemovskyi: to History of their Relationship","authors":"Iryna Bermes","doi":"10.32461/2226-3209.1.2023.277668","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277668","url":null,"abstract":"The purpose of the article is to reveal the peculiarities of communication between Mykola Lysenko-conductor and amateur singer Yakiv Hulak-Artemovskyi. Research methodology. The following methods have been used in the research: exploratory, analysis and generalisation method to reveal the communication of the eminent master with this specific member of the choir, based on the latter’s memories and epistolary. Scientific novelty of the research. The article reveals for the first time certain aspects of Mykola Lysenko's work with the choir and the conductor's collaboration with the amateur singer Yakiv Hulak-Artemovskyi, his faithful assistant, who became the “right hand” of the conductor. Conclusions. Yakiv Hulak-Artemovskyi is a person from Mykola Lysenko's circle, extremely responsible and devoted. Understanding Mykola Lysenko's business, his impracticality in financial affairs, at the same time his great love for his native people and cheering for their future, he agreed to become a voluntary assistant of the artist. The relationship of Mykola Lysenko – an outstanding Ukrainian composer and conductor, with Yakiv Hulak-Artemovskyi – an amateur singer and choir manager must be a model of deep respect, tolerance, and an example of devoted service to the cause of Ukrainian choral art. The creative tandem of these caring personalities contributed to coordinated and successful work of the choir, preparation of concert programmes, organisation of tour trips, and the popularisation of the native song among the Ukrainian population. Mykola Lysenko and Yakiv Hulak-Artemovskyi were Ukrainian patriots, highly spiritual personalities, and hardworking people who defended the right of the people to be treated with dignity within or under the conditions of the colonialist policy of the Russian Empire: Mykola Lysenko as a defining cultural figure, whereas Yakiv Hulak-Artemovskyi was an average, but dedicated representative of Ukrainian citizenship. Both faithfully served their native people and the Ukrainian culture. Yakiv Hulak-Artemovskyi respected Mykola Lysenko as a talented artist, admired him as a personality, as well as, his ability to maintain independent views, even in the most difficult times. In turn, Mykola Lysenko valued Yakiv Hulak-Artemovskyi as a singer and head of the choir, and as a reliable assistant and adviser. \u0000Key words: Mykola Lysenko, Yakiv Hulak-Artemovskyi, creative collaboration, relationships, choir.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127777578","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Musical and Poetic Symbolism of «Poème de l'Amour et de la Mer» by M. Bouchor – E. Chausson","authors":"Aliona Milanina","doi":"10.32461/2226-3209.1.2023.277691","DOIUrl":"https://doi.org/10.32461/2226-3209.1.2023.277691","url":null,"abstract":"The purpose of the work is to decode the symbolism of the vocal cycle «Poème de l'Amour et de la Mer» by E. Chausson based on poems by M. Bouchor. The research methodology consists in the application of semiotic, comparative, historical and biographical, hermeneutic, as well as structural and functional methods. The specified methodological approach allows us to reveal and decode the symbolism of the musical and poetic text of E. Chausson's vocal cycle based on M. Bouchor's poems «Poème de l'Amour et de la Mer». The scientific novelty of the research lies in the perception of the vocal cycle «Poème de l'Amour et de la Mer» by E. Chausson based on the poems by M. Bouchor as a complex symbolic formation intended for the communication of the recorded, meaningful authorial information. Consideration of this work in the semiotic and information space allows us to identify and decode the symbolism of the musical and poetic text of the work as well as to understand the musical universe of the French composer and his version of symbolism. Conclusion. Analysis of «Poème de l'Amour et de la Mer» proves that the poetic and musical text of the work is saturated with symbols, the decoding of which helps to immerse into and understand the authors’ ideas most deeply. It can be argued that the vocal cycle is inspired by and based on the symbolism of the poetic text, as well as that the composer's interpretation is as close as possible to the aesthetics of symbolism. E. Chausson’s work seems to evoke memories, he knows how to maintain an imaginary, in modern terms, virtual, deliberately ambiguous world composed only of unique fragments, for that reason, the author is constantly in that word as different figures and possible interpretations, which are his inner need. This freedom and independence of mind, to a certain extent, correspond to the mentality of the Symbolists. «Poème de l'Amour et de la Mer» preserves the already existing cultural and musical frameworks, but E. Chausson adapts them to his own requirements and offers a unique version of symbolism, that is, E. Chausson’s universe develops in two parallels: some testaments of the symbolists persist, but the perceptivity passes through the filter of author's beliefs and sensibility. \u0000Key words: symbol, aesthetics of symbolism, vocal cycle, poetry, composer's interpretation.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129256007","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Culturological reflection on creative interaction between director and actor: neurolinguistic technologies as cultural-creating paradigm in the field of stage arts","authors":"S. Sadovenko, L. Poriadchenko","doi":"10.32461/2226-3209.4.2022.269431","DOIUrl":"https://doi.org/10.32461/2226-3209.4.2022.269431","url":null,"abstract":"The purpose of the article is to conduct a cultural reflection on the technology of neurolinguistic interaction between the director and the actor in the process of interpersonal communication when working on staging a performance. The methodology of research is in accordance with the culturological discourse and is based on the application of a set of general scientific methods for specific scientific methods. In order to study the problem in historical sequence, the historical method is applied. Illumination and analytical measurement of the constituent components of the problem under study required the use of a system-analytical method. In order to study neurolinguistic technologies as a cultural paradigm in the field of performing arts, a system-structural method for analysing a system of interconnected and interacting elements is applied. The hermeneutic method is used for cultural reflection of the creative interaction between the director and the actor and the interpretation of the theoretical provisions of the problem under study. To draw the general conclusions of the study, the method of generalisation is applied. Scientific novelty lies in the cultural reflection of the creative interaction between the director and the actor and the consideration of neurolinguistic technologies as a cultural paradigm in the field of performing arts. Conclusions. An analysis of the question raised in the article about the cultural reflection of the creative interaction between the director and the actor made it possible to state the importance of using neurolinguistic technologies as a cultural paradigm in the field of performing arts. It was found that neurolinguistic technologies, regardless of the specific purpose or content, are directly aimed at the creative interaction between the director and the actor, constitute a harmonic integrity and can always be used to establish a creative tandem when staging a performance. It is shown that the use of neurolinguistic technologies in the process of communication will contribute to a better mutual understanding between the subjects of the creative process and will favour a clear relationship between the director and the actor when working on the performance. Taking into account the neurolinguistic features of the actor’s priority sensory channel, using the techniques of reflection, adjustment and anchoring of the result obtained in the creative process will contribute to establishing a rapport between the director and the actor, will allow the director to consciously lead the actor throughout the entire creative process of working on staging the performance and will lead to the interaction between the director and the actor. Consequently, the culturological reflection of the creative interaction between the director and the actor made it possible to illuminate the complex of artistic principles that clearly work, are adequate to their purpose, give effective results and fully correspond to the nature and co","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"66 4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116649349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Circus as Environment of Screen Action in Modern Directors’ Creative Work","authors":"Galyna Pogrebnіak","doi":"10.32461/2226-3209.4.2022.269403","DOIUrl":"https://doi.org/10.32461/2226-3209.4.2022.269403","url":null,"abstract":"The purpose of the article is to expand scientific ideas about the place and role of circus and screen directing in the system of humanitarian knowledge. Research methodology. An interdisciplinary approach based on the use of a number of general scientific methods; in particular, a system of theoretical methods (induction, deduction, identification, complex artistic analysis, and synthesis) has been used in the study of the topic, which made it possible to study the factual basis of the implementation of circus productions in the arena and on the screen. The methods of systematisation and generalisation came in handy for arguing the originality of circus directing in the context of screen arts. The typological method enabled consideration of common artistic principles in the creative pursuits of masters of screen and circus art. In addition, analytical and systematic methods have been applied in their unity, which is necessary for the study of the art history aspect of the problem. The scientific novelty of the study consists in defining the directing profession as a universal type of artistic-aesthetic and creative-production activity; revealing the original principles of making films based on circus creativity; in the clarification of mutual influence and mutual enrichment of circus and audiovisual arts in the development of directing skills. Conclusions. It is substantiated that the film directors’ creativity develops and expands knowledge about circus art, gives impetus to the development of creativity of circus directors and performers on the screen plane. The specifics of the film director's activity in the process of the screen presentation of circus work were determined, which became the subject of a special study for the first time. \u0000Key words: circus, audiovisual art, directing, circus creativity, trick, screen means, performing skill.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"260 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116492179","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Opera House as a Category of Ukrainian Operology","authors":"Guo Changlu","doi":"10.32461/2226-3209.4.2022.269406","DOIUrl":"https://doi.org/10.32461/2226-3209.4.2022.269406","url":null,"abstract":"The aim of the article is to develop the explication of an opera house as a category of Ukrainian operology. The research methodology is based on the combination of historical, theoretical, and performance musicology, in particular systemic and terminological approaches. The author has also applied the historical-genetic and comparative methods, principles of the communication theory, and the principle of historical synchronisation. Scientific novelty of the research. The author has systematised the analysed content levels and essential categories; introduced a developed terminological system into the concept interpretation; specificated valued scales and interpretations relevant to the concept’s content levels. As a result, the author has suggested a topical scientific paradigm of interpreting the category of an opera house. The mechanism of making the terminology system of the opera house concept has been defined, which includes the detailed description of its content, specification of local terms and definitions that correlate with it. These terms include the world opera house, the continental opera house, and the national opera house. Moreover, the author has justified the necessity of introducing into the modern Ukrainian operology such terms as the authorial opera house and corporate impresario. The former term implies the interpretation of the opera house concept as «summa summarum» of opera projects (both realised and not yet finished; artistic and scientific-critical), a combination of artistic search and regularities of creative thinking, manifestation of opera poetics and esthetics as the legacy of each specific composer. The latter term specifies the opera house concept as a formation that tackles a number of creative and organisational problems, searching for an effective way of managing the crisis, preparing the opera-theatrical enterprise and professional tours. Conclusions. The article presents a system of interpretations and functions of the «opera house» category within the Ukrainian operology, develops a comprehensive terminology system, and suggests a scientific paradigm of interpreting the category of the opera house. The author also distinguishes five levels of interpreting the «opera house» category that can be observed in the Ukrainian operology: as a category of historical musicology of both continental and worldwide scale, as an authorial phenomenon, namely the authorial opera house, as a architectonic structure that defines the poetics of the «opera city», and as a managerial system created to solve organisational problems and favour successful realisation of the opera performance. It has been established that its content-functional duality as a generic feature distinguishes the opera house category. The opera house appears to be a field for distinguishing international, temporal, topographic forms of dialogue that stipulates for the topicality of a specific interpretation of the opera work at the level of stage and ver","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124072255","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Western European Musical and Performance Professionalism in Historical-Evolutionary and Social-Cultural Contexts","authors":"Ostap Maychyk","doi":"10.32461/2226-3209.4.2022.269414","DOIUrl":"https://doi.org/10.32461/2226-3209.4.2022.269414","url":null,"abstract":"The purpose of the article is to reveal the regularities of the polymorphism of the Western European music-performance paradigms of professionalism in historical and socio-cultural coordinates from the Middle Ages to the end of the 19th century. The research methodology: source studies for the formation of ideas about the scientific and applied-practical basis of performance principles and educational systems of different eras laid out in treatises, methods, instrumental schools of European thinkers, teachers, and performers-practitioners of the past; retrospective and system-analytical in the selection and analysis of scientific literature; cultural-historical to trace the historical dynamics of musical and performing expertise in the lens of the aesthetic and spiritual superstructure of society. The scientific novelty lies in the fact that the consideration of the problem of epochal changes in performing traditions is carried out contextually. Taking as a basis the definition of the musical professionalism of the performers, their activity as the main profession, provided with relevant skills and knowledge, which is the basis for obtaining a means of livelihood (not a related occupation, a form of leisure, or hobby), the musical and performing forms characteristic of certain historical eras and are relevant to public demands and requirements for specialists in various performing industries. In parallel, methods and means of understanding musical professionalism are considered. Conclusions. The detection of regularities in the evolution of the criteria of performers’ musical professionalism in the historical and sociocultural projection demonstrates a gradual shift from church and court performance to secular (concert and every day) performance. This dictates the polymorphism and adaptability of the category of musical and performing professionalism. At the same time, there were processes of deeper differentiation of individual specialties, improvement of tools, development of a system of special education centres, development of music science from philosophical generalisation to the study of specific practical-executive and special-pedagogical issues. The named objective manifestations of evolution were accompanied by an increased concentration of attention on the personal and individual growth of the performer and their spiritual and intellectual development. \u0000Key words: musical professionalism, performance practice, public concerts, vocational education, forms of artistic life, evolution.","PeriodicalId":412134,"journal":{"name":"National Academy of Managerial Staff of Culture and Arts Herald","volume":"152 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128194605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}