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

{"title":"General patterns of existence of the accordion in the 20th century","authors":"Bohdan Kysliak, Tetiana Tokar","doi":"10.34064/khnum1-66.09","DOIUrl":"https://doi.org/10.34064/khnum1-66.09","url":null,"abstract":"Statement of the problem. Today the process of integrating the accordion into various types of musical practice continues to be in almost all countries of the world. The general course of the evolution of accordion performance, despite all attempts to limit it to pop music or house hold music, undoubtedly indicates a gradual but natural “ascension” of the accordion to the heights of academic music. According to this thesis, the purpose of the article is an attempt to offer a generalized description of the socio-cultural situation that led to the formation of the academic field of accordion performance. The results and conclusions. The keyboard accordion appeared en masse in all European countries almost at the same time – in the 20s and early 30s of the 20th century. The instrument quickly attracted attention of performers who switch from piano or various types of the hand harmonicas to the new instrument. A specific point in the development of accordion performance, in our opinion, is the fact that the instrument does not become a house hold immediately, as it happened with its predecessors – hand harmonicas, but only after a period of stage being in the hands of professional performers (variety shows, music in restaurants and dance halls). The recognition of the accordion as a “serious” instrument is evidenced by a number of certain phenomena: the appearance of this instrument in special secondary and higher educational institutions, a significant number of concert accordionists whose program includes mainly classical transcriptions and original works, and also the appearance of a number of records. The development of original repertoire for the accordion was the most rapid in Germany, not only because of its wide spread use in this country, but also because it was here that professional composers first turned to the creation of special literature. After the Second World War, the accordion gradually secured the dual status of a pop and academic instrument, and its pop component seemed to split, as one part of the repertoire passed into the stratum of house hold music, and the other, more high quality, acquired the features of academicism. Overtime, the instrument demonstrated the tendency to leave the concert stage. On the other hand, the undeniable growth of the performers’ professionalism, the further improvement of technical and constructive characteristics, the active development of the repertoire, the constantly increasing level of technique, the appearance of the accordion in modern chamber music, etc., speak of the reverse process – the process of active integration of the accordion into the sphere of professional classical instruments. Thus, in our opinion, the development trends that are clearly evident today in the repertoire of accordionists indicate that the keyboard accordion, even if it is not as large-scale as the button one, is still quite firmly established on the academic scene.","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"15 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":"135648537","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 interaction of the arts of theater, cinema and music in the postmodernist interpretations of the coryphaeus’ works directed by O. Kovshun","authors":"Olha Kalenichenko","doi":"10.34064/khnum1-66.10","DOIUrl":"https://doi.org/10.34064/khnum1-66.10","url":null,"abstract":"Statement of the problem. In recent decades, Ukrainian directors have turned to the dramaturgical heritage of coryphaeus – to the works of I. Karpenko-Kary, M. Starytsky, M. Kropyvnytsky. On the stages of theaters represents a very wide palette of interpretations of their works: from realistic and psychological performances with authentic Ukrainian clothes and elements of everyday life to experiments with acting plasticity and searching for new scenography opportunities, but Oleksandr Kovshun demonstrated a fundamentally new approach to the classical texts in his spectacles “Burlaka” (2010), based on the play of the same name by I. Karpenko-Kary, and “Love” (2018), based on the play by M. Kropyvnytsky “Where is grain, there is chaff”, in the Kharkiv State Academic Ukrainian Drama Theater named after T. H. Shevchenko. At the same time, there are still no scientific works by art critics, in which these performances were analyzed and the creative assets of the director were understood. Objectives and novelty of the research. The purpose of the study is to prove that O. Kovshun’s productions “Burlaka”(“Rover”) and “Love”, which based on interaction of such art types as theater, cinema and music presenting non-standard directorial decisions, correspond to the principles of postmodern theater. For the first time, Kovshun’s performances “Burlaka” and “Love” are considered from the point of view of postmodernism aesthetics, which makes it possible to estimate the director’s work from a new angle. Results of the research. In the performance “Burlaka”, Kovshun transposes the plot of KarpenkoKary’s play to the 2000s and, thanks to the postmodern literary game with the pre-text, turns it into a modern plot talking about both, the local elections and the current problems of the country. The same technique of transposition is used by the director in the play “Love”, where the audience is immersed in the 1970s and 80s, and only the plot of Zinka’s love for Roman remains in the play. Kovshun’s active use of images-symbols in his performances allows to interest the intellectual viewer, to force him to start thinking about what he saw and heard. At the same time, images-symbols help to better understand the director’s ideological and artistic concept of performances. Conclusion. The study showed that O. Kovshun creates the postmodern performances, and it can be revealed on the levels of poetics, the director’s experiments with new symbiotic genre forms (the director’s definitions “horror comedy”, “mystical drama”), the synthesis of the theater of “experience” and the “physical” theater, and the stylistics demonstrating eclecticism, which in “Burlaka” is observed in scenography and musical accompaniment, as well as on the dramaturgy level that be influenced by cinematographic technique on the construction of the scenes. In “Love”, a certain selection of domestic and Western European songs carrying self-own contexts allows to more accurately reveal the experiences o","PeriodicalId":496850,"journal":{"name":"Problemi vzaêmodìï mistectv, pedagogìki ta teorìï ì praktiki osvìti","volume":"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":"135648543","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}