Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti最新文献

{"title":"Physical health and prospects of its improvement for music students of the Kharkiv I. P. Kotlyarevsky National University of Arts","authors":"Anatolii Horlov, Kateryna Bleshchunova","doi":"10.34064/khnum1-66.14","DOIUrl":"https://doi.org/10.34064/khnum1-66.14","url":null,"abstract":"Statement of the problem. Objectives, material, and methods of the research. Health and healthy lifestyle of student young people, including those who studies in the sphere of art, is the mortgage of their capacity and success in future professional activity. In order to improve the quality of educational work on the discipline “Fundamentals of physical education and a healthy lifestyle”, the studies and estimation of main parameters of psychical, social and physical health of music students of the Kharkiv I. P. Kotlyarevsky National University of Arts were undertook. The 127 students of master’s degree course took part in the study, among them 61 students of the 2019 graduating class and 66 graduates of the 2020. On the first stage of our investigation the diagnostic research methods were used; on its second phase the mathematical statistic methods were applied. The results of diagnostics of individual psychical, social and physical health (without the account of gender approach) are analysed for the students-musicians of master’s degree separation 2018/2019 and 2019/2020 school. In the course of the study, the results of testing the mental, social and physical health of master students (without taking into account the gender approach) of two faculties of the University – the musical performance and orchestral ones were analyzed. The comparative quantitative analysis on several various indexes of quality of music students health separating 2018/2019 and 2019/2020 academic years, was conducted. Also, the cluster analysis with application of mathematical processing of the statistic data, taking into account the gender differentiation, was undertook to reveal the current state of health and perspectives of its perfection for male and female groups of the students. Research results. A comparison and grouping of five indicators determining the diagnosis of a student’s physical health (anthropometric, respiratory, strength, cardiovascular, restorative) showed that in the 2019/2020 academic year, students-musicians of the master’s degree of the Kharkiv I. P. Kotlyarevsky National University of Arts were inferior to the students of 2018/2019 year in terms of body weight, hand strength, vital capacity of the lungs, and an integral indicator of physical health. Positive results were recorded only for two indicators – cardiovascular and recovery. A high level of physical health was not revealed, however, the students of orchestral faculty have the better results than the students of the performance and musicology faculty. Conclusion. According to the results of research, it becomes obvious that the way to improve the physical health of music students can be not only the usual increase of training in academic group classes, but also a qualitative change in the planning of practical classes in physical education based on the principle of individual differentiation: choosing a direction, determining the content and ratio of physical exertion for each cluster ","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"95 11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648535","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":"Collection of solfeggi by Carlo Broschi (Farinelli): the artistic top of bel canto’ methodical literature","authors":"Нanna Tverdova","doi":"10.34064/khnum1-66.01","DOIUrl":"https://doi.org/10.34064/khnum1-66.01","url":null,"abstract":"Statement of the problem. In the history of art, there are many figures that over the centuries arouse admiration and encourage research. Carlo Broschi (1704–1782), the Italian opera castrato singer known as Farinelli, is certainly one of them. Despite his widespread fame as an brilliant artist and social figure, Brosky’s own achievements in the field of musical composition, including the arrangement and ornamentation of the works of other celebrated musicians of the era, have not yet received the appropriate scientific understanding. In addition, the practical aspects of the initial period of shaping the bel canto vocal technique are mostly left out of the attention of researchers. Objectives, methods, and novelty of the research. The purpose of the study is to analyze the artistic and methodical value of the collection of Farinelli’s vocal exercises in aspect of reconstructing the practice of set and improvement of the singing voice. For the first time, Farinelli’s collection of 10 solfeggi is considered in terms of its belonging to the system of musical education in the Neapolitan conservatories of the 18th century. A comprehensive approach to the study of the material is applied: the historical-critical method is used to determine the reliability and characteristics of the sources; the comparative-descriptive method is employed to define the artistic significance of Farinelli’s methodical miniatures; the performance analysis is aimed at studying the methodical content of his vocal exercises. The study is related to the works of Ukrainian musicologists on general issues of the genre of vocal exercises (Antoniuk, 2007), the bel canto style (Boiko, 2015; Stakhevych, 2013), as well as on the publications of leading foreign scholars, devoted to the art of castrato singers, the work of Farinelli and problems of singer education in Neapolitan conservatories (Haböck, 1923, 1927; Barbier, 1989, 1994; Gjerdingen, 2007, 2010; Sanguinetti, 2005; Baragwanath, 2015, 2020). For the first time, the Italian musicologist Luigi Verdi (2018) turned to Farinelli’s collection of solfeggi; he published the texts of the vocal exercises in modern notation. However, none of the mentioned scientific sources is the result of practical training on the exercises, which interests us in the first place. Research results. Each of the exercises contains two parts contrasting in character and tempo (Adagio and Allegro). All exercises are written for the range typical of a female soprano, not for a castrato voice. Probably, like other singing teachers, Farinelli was composing exercises for his students (it is possible that he wrote solfeggi for the Duchess of Parma Maria Amalia). The best way to explore the methodological potential of Farinelli’s exercises is to try practicing them. Farinelli’s exercises are extremely difficult for a vocalist. These vocalizations bring up namely the extraordinary qualities of the singer – extreme endurance and full breath control, ligh","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"95 12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648394","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":"The means of creating a new complex sound in the electroacoustic music by Ostap Manulyak","authors":"Dmytro Demchenko","doi":"10.34064/khnum1-66.08","DOIUrl":"https://doi.org/10.34064/khnum1-66.08","url":null,"abstract":"Statement of the problem. In the 21st century, modern artists got the opportunity to use new technologies related to the field of the computer industry. Total digitalization led to the creation of a new sound space with new possibilities of sound engineering. The musical space, the center of which is the computer, provides an opportunity to influence the musical process, participate in it, create and observe the transformation of sound material. Hence, one of the most important issues of modern music science is the studying of new sound, in particular, those characteristics and features of its functioning that arose in the field of electroacoustic music. The study of the creativity of Ukrainian artists who also work in this direction seems to be an urgent task. Objectives, methods, and methodology of the research. The purpose of the article consists in discovering the way of creating a new complex sound in the electro-acoustic music of the modern Ukrainian composer Ostap Manulyak. In this investigation, we relied on the methods of description and analysis of a sound object created with the help of certain programs, elements of semantic analysis and spectromorphological analysis by D. Smalley (Smalley, 1997), taking into account the comments and clarifications of the composer Ostap Manulyak, which allow us to single out purely content transformations different types of timbre-sound forms. For the first time in Ukrainian musicology, Ostap Manulyak’s music appears as a subject of analysis. Research results and conclusion. The article gives examples of certain computer programs that provide various possibilities for the realization of a new complex sound. One of the ways of its forming is demonstrated on the example of O. Manulyak’s work «Aeolian Processes». The study takes steps towards the application of certain specific means of analyzing electronic music (according to D. Smalley’s concept) and identifying the special semantics that arises from the new complex sound. The composer’s strategy for transforming the characteristics of natural phenomena described in the program to the work into the music space presented by acoustic instruments and electronic sounds, interacting with them is considered. In particular, the spectral analysis and the combination of its results allow the composer to influence the pitch values. Treating sound as an object allows the composer to form complex tonal layers. It is concluded that the musical composition’s peculiarities are due to both the use of a certain computer program and the author’s artistic task, which determines the quality of the sound object. Ostap Manuliak’s way is the way of synthesizing acoustic and electronic sound. The specific qualities of the new sound of the 21st century create a wide field for further experiments, the goal of which should be, first of all, a high artistic level of new, in particular, electroacoustic music.","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648536","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":"Christian Sinding’s piano works: the experience of a post-romantic world perception","authors":"Maksym Chub","doi":"10.34064/khnum1-66.03","DOIUrl":"https://doi.org/10.34064/khnum1-66.03","url":null,"abstract":"Statement of the problem. Christian Sinding is the first composer after Edward Grieg, whose name resonated in wide circles of the musical community not only in Norway, but also in Europe, in particular Germany. His works were widely performed and aroused general interest, being evidence of the high status of national Norwegian music. In Ukraine, the figure of Sinding is little known, and his works are performed very rarely, despite the fact that his heritage, in particular the piano one, deserves attention and study as a vivid expression of the national style in the music of the early and first half of the 20th century. The style of performance of Sinding’s piano works was also not the subject of special research either in the world or in Ukrainian musicology. Recent research and publications. The creative personality of Sinding appears in generalizing studies on the history of Norwegian music (Rowbotham, 1916; Qvamme, 1949; Grinde, 1981; Herresthal, 1987; Holth, 2014), and the composer’s piano heritage is included in the context of the evolution of European piano art (Herresthal, 1987). The figure of Sinding is also highlighted in works in the genre of creative portraits (Altmann, 1936, Gaukstad, 1956) and in biographical studies. These works contain brief descriptions of the musical material of a significant part of the composer’s works. The dissertation of the Norwegian singer and scientist Per Vollestad, dedicated to Sinding’s vocal work, should be considered the most thorough study of his creativity at the moment (Vollestad, 2002). Nevertheless, in the mentioned sources, the piano music of Sinding, in particular, large-scale genres, did not become the subject of a special study, as well as the question of its stylistic attribution in the context of post-romanticism. Objectives, methods, and novelty of the research. The purpose of the study is to present the individual composer style of Sinding as of an experience of post-romantic worldview in the context of the trends of the modernism era based on the performance interpretation of large-scale piano works (Sonata and Concerto). The scientific novelty of the topic is determined by the lack of information about the specifics of Sinding’s piano style and artistic thinking in available scientific sources; in particular, we rely on self-own experience of interpreting Sinding’s selected works. The following methods were used in the study: historically typological that helps to outline the stages of evolution and stylistic trends of European piano art; the genre approach that identifies the established models of instrumental music of the European tradition (sonata, concerto); stylistic one revealing the regularities of the Norwegian artist’s individual way of thinking; and interpretative method that allows to understand of the composer’s embodiment of the sound image of the piano in the light of post-romanticism. Results and conclusion. Sinding’s large-scale piano works, the Concerto (1890s) and Son","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"129 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648538","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":"Controlled anticipation as a psychological attitude of the pianist-concertmaster (on the example of M. Ravel’s Sonata № 2 for Violin and Piano)","authors":"Mariia Obolenska","doi":"10.34064/khnum1-66.04","DOIUrl":"https://doi.org/10.34064/khnum1-66.04","url":null,"abstract":"Statement of the problem. Controlled anticipation is a conscious process of fore sighting an upcoming event, preparing for its fulfillment, and taking full control over its course. Extrapolation of this universal model to the professional activity of a pianistconcertmaster allows to schematize the psychological foundations of the performance process. The distinctive feature of Ravel’s Sonata for Violin and Piano in G Major is demonstrating the incompatibility of violin and piano declared by the composer. The main task of the concertmaster is to create an ensemble integrity, within which he should cover the musical material of all the parts of the ensemble. In the context of this Sonata, the pianist resolves a paradoxical contradiction – to combine into a single integrity what is deliberately polarized at the compositional level. This study was based on scientific works in the field of psychology, in particular, the researches of Ukrainian scientists (Batrachenko, 2010; Nikolenko, 2014) and the studies revealing the problems of performing Ravel’s Violin Sonata (Baer, 1992; Kaminsky, 2004; Beavers, 2010, 2016, 2020; Lefèvre, 2013). Objectives, methods, and novelty of the research. The purpose of the study is to highlight the general principle of controlled anticipation and to argue their importance in the work of a pianist-concertmaster. For the first time a theoretical substantiation of anticipation as a controlled psychological process in the field of music is proposed and the research attention is focused on the performance problems of the concertmaster, who is responsible for the unifying function in the ensemble in Ravel’s Sonata in G Major for Violin and Piano. The research methods are determined by attracting the psychological theory, which considered the concept of anticipation; an activity approach aimed at applying theoretical knowledge from the field of psychology in the preparatory work of a pianist-concertmaster, as well as the methods of deduction and induction in their direct interaction were used. Research results and conclusion. Controlled anticipation allows to solve effectively a wide variety of tasks and it is a universal model for working on any kind of music. The specificity of the concertmaster’s activity lies in the fact that he is obliged to embrace the soloist’s part with his consciousness in addition to his own material. It needs to correlate each structural element of the text with the partner’s capabilities. Controlled anticipation as a psychological instruction is aimed at helping both in the rehearsal and concert practice of a pianist-concertmaster. Moreover, in the course of a stage performance, the use of controlled anticipation reduces the problem of excitement to nothing.","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"49 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648393","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":"Method, techniques and stylistic features of S. Pasichnyk’s stage direction (based on the performances of 2010–2020)","authors":"Oleksandr Annichev","doi":"10.34064/khnum1-66.11","DOIUrl":"https://doi.org/10.34064/khnum1-66.11","url":null,"abstract":"Statement of the problem. The article examines the performances of the chief director of the Kharkiv Taras Shevchenko State Academic Ukrainian Drama Theater, Honored Artist of Ukraine Stepan Volodymyrovych Pasichnyk (born in 1965). Stepan Pasichnyk is an actor, a director with a philosophical mindset, a theater teacher, a poet, a playwright, who has an unparalleled multifaceted talent, a unique worldview, tireless creative energy, and his performances arouse the interest not only of theater critics and theater historians, but also of a large audience, including youth. At the same time, there is currently only one scientific article that examines the creative method of the artist on the earlier material of 1990–2000 (Kovalenko, 2012b), also the articles of same author in periodicals (Kovalenko, 2012a, Shchukina-Kovalenko, 2021). Another scientific article is devoted to the musical component of one of the director’s performances (Liubchenko, 2021); there are also reviews of selected S. Pasichnyk’s performances (Lohvynova, 2016; Chepalov, 2018; Shvets, 2013; Poliakova, 2016). Therefore, the question remains almost unsolved. Objectives and methods of the research. The purpose of this study is to reveal the peculiarities of S. Pasichnyk’s stage techniques, his method and style of work on the play, which are characteristic of his staging culture. The methods of systematization and generalization of scattered information are applied, in particular, from our own theater-critical experience of analyzing S. Pasichnyk’s plays, as well as biographical, historical-chronological, comparative and interpretive approaches with elements of the reconstructing the performances. Results and conclusion. S. Pasichnyk’s directing has undergone a significant evolution, from the “demonstration” type (1990–2000) to deeply realistic and, at the same time, theatrically imaginative performances, in which the director seeks to reveal and present the personality of the actor. As a director, S. Pasichnyk gravitates towards the genre of tragicomedy, however, due to the individualization of the techniques used, the form of his dramatic performances is always changing, and his philosophical views correspond to the existential directing in the art of dramatic theater. In a triumvirate with the painter Tetiana Medvid and the composer Hennadii Frolov, the director aims to recreate an ambivalent environment and a variable musical and intonation sphere on the stage, which help the viewer to perceive not only the plot, but also the parable behind it. The director uses music as a component of the dramatic plan of his performances, widely applying the leitmotiv principle. Musical accompaniment often appears in his performances as a “counterpoint” to the action, revealing the director’s subtext of the verbal text. Over the years, S. Pasichnik developed his own unique method of text analysis. The actor in his performance is not only a character, but also a personality. The director skillfull","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648539","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":"Christian images in chamber vocal music of Western Europe of the 19–20th centuries","authors":"Mуkyta Burtsev","doi":"10.34064/khnum1-66.02","DOIUrl":"https://doi.org/10.34064/khnum1-66.02","url":null,"abstract":"Statement of the problem. The development and popularization of vocal genres in performance practice of the 19th century was accompanied by a tendency to move liturgical singing to concert halls. Its consequence was the appearance of a new genre variety – “sacred song”. This is a chamber composition for the voice and piano with a brightly pronounced sacred meaning of the poetic base (sometimes borrowing texts from the Bible). Despite the fact, that vocal music was dominated by secular themes at that time (sometimes even demonic, as evidenced by the popularity of the image of Mephistopheles), religious spirituality remained in a place of honour and had an important mission. Carl Dalhaus explained the departure of the Church from the “mainstream” of musical history in the 19th century as follows: “...the sociopsychological roots of the ideal of church music as an escape from the world can be seen in the bourgeois tendency to separate these two spheres and drive religion into the ghetto, thus protecting it from ‘reality’ and, at the same time, not allowing it to interfere with this reality” (Dalhaus, 1989: 179). Thus, the tendency to hide religion from life into a “reserve” had a significant impact on the sacred music of the 19th century. However, composers who appealed to divine meanings in their compositions acted contrary to this tendency. The essence of romanticism required a personal experience of religious feelings passed through the “crucibles” of one’s own experience, and this is what endowed spiritual genres with a missionary role in the art of the society of that time. Objectives, methods, and novelty of the research. Elucidation of Christian meanings in the chamber vocal genre is a new and understudied musicological problem. Although the works of L. Beethoven, F. Schubert, A. Dvořák, J. Brahms, and R. Vaughan-Williams considered in the article are well-known and in the repertoire, scientific works very rarely focus specifically on the Christian content of these songs and vocal cycles. The purpose of the research is to trace Christian meanings in the chamber vocal work of prominent Western European composers of the 19th–20th centuries. The application of the historiographical method highlights the retrospective of development of the chamber-vocal music of Western Europe of the 19th–20th centuries; the genrestylistic method allows to reveal the characteristic features of the composer’s interpretation of religious images; the textological one reveals the linguistic features of the selected samples; the performance analysis defines the specific creative tasks facing the singer. Research results and conclusion. The practical result of the research should be an increase in the level of awareness of the performers regarding the substantive and stylistic components of the composer’s idea in order to create an interpretation adequate to it. Based on the analysis of selected chamber and vocal works with Christian themes, their typ","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648542","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":"The phenomenon of meta-genre in music era of Modernism and Postmodernism","authors":"Yurii Popov","doi":"10.34064/khnum1-66.06","DOIUrl":"https://doi.org/10.34064/khnum1-66.06","url":null,"abstract":"Statement of the problem. Objectives, methods, and novelty of the research. The purpose of the study is to distinguish the concept of meta-genre as a phenomenon that is in transgressive relations with the academic system of musical genres. The topicality of the study is due to the need for a scientific understanding of the evolutionary processes of genre creation, in particular, the practice of genre metamorphoses, unique authorial genre solutions, which give rise to the phenomenon of “meta-genre” that should be understood as a conscious departure from the academic tradition towards the semanticization of what or another genre invariant. Methodologically, the research relies on the latest developments in the theory of musical genres regarding the semantic load of genre invariant as a type of content and certain principles of its structuring, and also uses a philosophical and cultural approach. An innovative aspect is that the phenomenon of meta-genre is considered as the result of synergistic thinking, which relies on a metaphysical scientific picture of the world and thus ensures the uniqueness of the author’s genre-philosophical concept. Research results and conclusion. It is summarized that the approach to genre-creating algorithms presented by the music of the Modernism and Postmodern era reveals intentions of a transgressive breakthrough beyond the established academic system of musical genres, but at the same time continues the tradition of semantic structuring of a phenomenon of the “genre”. It is possible to ascertain the almost inexhaustible resource potential of meta-genre as a category, which allows composers to more fully express their intentions. After all, it expands the possibilities of understanding the surrounding reality by the means of musical art, building philosophical concepts, the “decoding” of which requires the activity of perception and intellectual efforts from everyone who turns to a musical work, presenting the unique challenges in researching and interpretation of musical texts.","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648392","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":"Music editing in the aspect of interdisciplinary connections (according to pages of foreign studies)","authors":"Oleksandra Klendii","doi":"10.34064/khnum1-66.12","DOIUrl":"https://doi.org/10.34064/khnum1-66.12","url":null,"abstract":"Statement of the problem. Editing of a musical work and editorial activity as such is an integral part of the music-historical process. This is the area of musicological activity that, being at the junction of composer creativity and performing interpretation, can tell a lot: to point out the peculiarities of the genre in a certain historical period, to reveal the level of technical skill of the musicians, the canons of the performance style and sound image of the instrument, to mark figurative and substantive priorities. Since the second half of the 20th century, research on the topic of music editing has been spreading, in which the emphasis is placed on the interdisciplinary connections of musicology and philology (Brett, 1988; Bent, 1994; Grier, 1996; Hammond, 2007). In Ukrainian musicology (Hryschenko, 2015; V. & I. Khodorovski, 2016; Zymohliad, 2016: Pankova, 2013; Ekman, 2018; Zapevalova, 2021 and other), music editing was mostly considered on the materials of piano works through the analysis of the work of musician-editor on a music piece. Objectives, methods, and novelty of the research. However, we note the insufficiency of disclosure of this direction that requires further in-depth study. This determines the relevance and novelty of the article, which include systematized analytical results of research of the second half of the 20th‒beginning of the 21st century on the issues of music editing, in the aspect of connections between musicology and philology. The purpose of the article is to systematize the research materials of a number of foreign authors on the study of the phenomenon of music editing from the standpoint of interdisciplinary connections. The article uses the historical method, which reveals the peculiarities of the origin and formation of the process of music editing and its development as a phenomenon; methods of terminological analysis, generalization and systematization, in connection with the study of the positions of researchers in the disclosure of the above-mentioned problems. Results and conclusion. When developing the idea of interdisciplinary relations – musicology and philology in the field of editing – a Canadian Researcher J. Grier (1996 ) considers the ‘methods of critical assessment’ and ‘composition socialization’ to be the most effective for musicology. The literary term ‘philological monument’ projected by J. Grier onto a musical composition of the past, which consolidated in musical and performing practices on the rights of a canon, is equally important and relevant. In the work by S. L. Hammоnd (2006: 2), which covers the investigation of madrigal vocal art within the context of 15th‒17th century culture, the significant role of the figure of editor is emphasized, which could be played by a performer, a composer, a music teacher, a music publisher or a poet (the translator of the Italian texts). Each of them could complement the original work by their own vision acting as a co ","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"104 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648533","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":"Features of distance teaching of foreign language for future seafarers: module “Art”","authors":"Alona Yurzhenko, Olena Kononova","doi":"10.34064/khnum1-66.13","DOIUrl":"https://doi.org/10.34064/khnum1-66.13","url":null,"abstract":"In this study, the problems of distance teaching of a foreign language to future seafarers are highlighted, namely: the “Art” module. The article’s objective is to investigate the organization of the learning process, the selection of methods and means of distance learning, the peculiarities of teaching of a Foreign Language in the context of maritime subjects. The role of art in the life of a cadet of higher maritime institution is analyzed. The study shows methods of distance learning of a foreign language using the platform Moodle as an example. A number of activities of the “Foreign Language” electronic course (“Art” module) on the Moodle platform are given. The advantages and disadvantages of using the platform Moodle while studying the “Art” module are highlighted. The results of the study show that the “Arts” module helps cadets improve their language competence and develop critical thinking, which allows them to be more successful in their future professional activities.","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"210 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-04-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135648534","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}