Study in Art #4

Contents

MUSICAL PERFORMANCE

1. Davydov - Scientific terminology in musical pedagogy
2. Zayets - Especially the formation of the Kyiv school folk instruments
3. Povzun - Performing gestures as a part ensemble instrumentalism

Nu Nin - The conversion inside the genres in the works by Prokofiev

(based on the training samples of material)

GENERAL  PROBLEMS OF ART

1. Roshchenko (Averyanova) - R. Schumann and Jean Paul. Fragments of life creation. Methodological searches
2. Muravskaya - Rebikov’s «Gentry» and genre and stylistic aspects of the «psychographic music-drama»
3. Byelik-Zolotaryova - Action and counteraction in choral dramaturgy of the opera «Moses» by M. Skoryk
4. Tatarnikova - «Ondine» by E. T. A.  Hoffmann in line with the traditions of the interaction between Romanticism and Biedermeier
5. Oganezova-Grigorenko - Interaction of selection factors as a development mechanism of self-organizing system - a musical actor
6. Milenkaya - The dynamics of development of German theatrical aesthetics in XVIII century
7. Misko - Transformation of winter rite in contemporary cultural and artistic space (experience of Ternopil «Vertep»)
8. Zaverukha - Specificity of choral writing by Yu. Alzhnev

(for example of a lyric sugolosiya “The Native Vicinity”»

1. Aliyev -  Semantic and stylistic diversity of urban sculpture
2. Gabrielyan - The role of the archetype in design typology of a brand

PROBLEMS OF CULTURAL AND ART HISTORY EDUCATION

1. Kravchenko - The Professional Music Education in Zhytomyr: the Period of Formation
2. Derevjanko - Singing in the speech position as a problem of vocal pedagogics
3. Mambetov - Features of creative self-realization of teenagers in the ensemble playing music
4. Akpynar - Motivation training of students in higher education institutions art history orientation

Motivation training of students in higher education institutions art history orientation
The author exposes the problem of learning motivation of students at the university. Reveals the average ratio of motivation on three scales: the "acquisition of knowledge", "skills development", "diploma".

In order to determine the motivation of training students in high school used the method "Motivation training in high school" T.I. Ilinoy. The students were offered a questionnaire, which included 50 statements. The students identified their agreement or disagreement with statements accordingly by putting a "+" or "-".
Differentiation of responses was carried out on three scales:

1. "The acquisition of knowledge" (the desire to acquire knowledge, curiosity );

2. "Mastering the profession" (the desire to master the professional knowledge and create professionally important qualities);

3. "Getting a degree" (the desire to acquire a diploma in the formal assimilation of knowledge , the desire to seek detours the examinations and tests ) .

The test results can be seen (Table 2.) That the 2nd year students of the average coefficient of motivation in terms of "knowledge acquisition", which reflects the desire of students to acquire knowledge, curiosity level students of the highest rates of 8.5 points - the students of specialty "Museology and Protection of monuments of History and culture" and 8.08 points - the students of "Musical art", specialization " Singing" . The lowest index 4.45 points from students of " Theatre Arts " specialization " Directing Drama Theatre ." When possible maximum - 12.6 points.
On a scale of "mastery of the profession", the results of which reflect the desire of students to master the professional knowledge and skills , professionally important qualities of the average coefficient of motivation varies from 7.07 points - the students of "Theatre Arts" specialization "Direction pop and mass celebrations" in the group A, and to 3.75 - the students of "Theatre Arts" specialization " Directing Drama Theatre ".  When possible maximum - 10 points .
Nearby is the average coefficient of motivation in terms of "diploma", which reflects the desire of students to acquire a diploma in the formal assimilation of knowledge, desire to find workarounds at the time of examinations and tests , and is (out of ten points) 6.63 points - students , enrolled in the direction "Scope of Service" specialty "Tourism" . Scores on this scale range from 6.63 to 4.8 points.
Thus, there are significant variations in the performance factor scores on the scales of "knowledge acquisition" and "mastery of the profession".  However , we define a rather high average coefficient of motivation in terms of "diploma" in the majority of students in the course in 2 Republican higher education institution "Crimean University of Culture, Arts and Tourism" The study does not cover all aspects of the problem and suggests a continuation of research - job search engin, further scientific study questions motivation of training students in high school. Practical implementation require comparative studies on the dynamics of learning motivation of students in high school from 1 to 5 year course, learning motivation masters at the university. Study the problems of learning motivation of university students in Ukraine Culture and European countries.
Keywords: motive of training, motivation, knowledge, skills development, the quality of the individual.

Summary

Aliyev Ayder
Honoured artist of Ukraine, Assistant Professor of "Fine arts"
Republican Higher Educational Institution
Crimean Engineering and Pedagogical University

Semantic and stylistic diversity of urban sculpture

The objects of monumental and decorative art that entered into the system of architecture and the artistic urban look are reviewed in article. The analysis of   the    semantic    and   style-forming    properties of plastic body-sculpture in urban planning space is given. As a research problem the author estimated the modern state of the objects of monumental and decorative art. On the basis of research, it was found that in the Crimea, in nearly every district there monuments were dedicated to the World War II (1941-1945 years). It was noted that the monuments to prominent figures of the communist party were very common in monumental art. However, some monuments under the influence of adverse atmospheric influences, and because of infringement of technological processes were destroyed and the other part needs the restoration work. It was noted that over the past decade the statutory monuments to prominent state and public figures (monument-busts, figures and demi figures) are dominated.

The author gives a generalized characteristic of the recently established monument «Revival of the Crimean Tatar people» as a cultural phenomenon in the life of the Crimean society. The main attention of the author is devoted to the problems of monumental and decorative sculpture development in the urban environment. It is emphasized that because of the lack of the concept and system approach, urban sculpture is set in a chaotic way, as the requirements of public organizations or government structures. The creation of conditions for the thematic variety, not loaded with ideology and oriented to the intellectual comprehension of reality in monumental and decorative sculpture, is necessary. The author considers that the fundamental study of world culture, the implementation of historical and philosophical knowledge, which will provide the basis for the emergence of multipronged monumental and park-decorative sculptures in the surrounding space.

1. Byelik-Zolotaryova

Action and counteraction in choral dramaturgy
of the opera «Moses» by M. Skoryk

To the creation of neo-romantic opera at the turn of XX-XXI centuries M. Skoryk definitely inspired by such factors as the poem of the great poet of Ukraine I. Franko (1905) and its basis – the biblical legend about the prophet Moses. The image of Moses, who lived more than three millennia ago, was embodied in many works of different artistic styles and national schools. Since the prophet is unthinkable without the people, in the opera «Moses» by M. Skoryk significant role is played by the choral scenes. The logic of choral dramaturgy of opera «Moses» develops according to the principle from gloom to light, from the image of uneducated nation to the statement of national consciousness. The domination of the choral essence in opera adds features of oratorio to the work. Due to the choral factor the following images are created: choir as the character of prologue and epilogue, rebels and supporters of Moses, children, voices of desert, the Hebrew people. In accordance with the development of  drama of the opera, choral component gets the following functions: the provider of key words and characters (chorus from the prologue); personification of ideas (choirs of supporters of Moses and the rebels); the announcer of actions («Behold Moses on a prayer» № 20); background echo (chorus from prologue); the ridicule (choir of rebels, № 9); the tempter («invisible» choir of voices of desert, № 18); the actor (chorus of rebels «Take stones! Let die!», № 11; the choir of enlightened people «To a campaign! To arms!», № 28); the prophet (the children's choir «We are building a house», the choir of the final of prologue), the voice of God («For your doubting», № 24); the symbol of the spiritual evolution of the people («Behold Moses on a prayer», № 20; «Where is he?», № 26; «Where is Abiram? Where is Datang? Find and adduce!», № 27; «To a campaign! To arms!», № 28; «But the hour will come», epilogue). Differentiation of choir-the people to implement of ideas of gloom and ideas of light promotes development of such dramaturgical functions of choral component in the «Opera-Fable» (according to L. Kuyanovska) «Moses» by M. Skoryk as action and counteraction. Implementation of these functions creates the pre-conditions for the realization of the conflict dramaturgy of operatic choir.

Annotation to article

Article “Scientific terminology in musical pedagogy” dedicated to idea of inclusion in musical pedagogy and teaching process of special research-and-conceptual terminology. Such method is called to liven up the process of intellectualization performance and musical pedagogy. It’s expediency runs out from research-and-conceptual system in which summarize art richness of content of acquirement of performance art and teaching.
Methodical literature analysis’ shows that this problem doesn’t arise in methodical plane and not adequately take into account in performance and pedagogy practice.

At the same time, developing of independence and creative thought of students, postgraduate students, pedagogues without including research-and-conceptual-terminological logical system will be defective, without understanding, for instance such notions:

• Artistry;
• Interpretative classification of temperaments;
• Creative potential of musician-performer;
• Interpretative thought;
• Associativity of musical thought;
• Interpretative hearing;
• Interpretative tone;
• Dialogic of interpretative of musical speech;
• Emotional thought.

In this article terminology apparatus of wide circle of explorations has been generalized, mainly dissertations; content of conceptions and terms is presented by original source.
Its well known that every new conception is carrying bundle of information, generalizing huge experience of performance, pedagogy, methodical practice and their theoretical ground. Just acquirement of performance parallel with conceptual-terminological of its understanding allows to activate developing of professional thought of performer and create strong methodological base in education process. Mastering of this terminology in the lecture course of special methodic for each specialization (solo, ensemble, conductor) assists to intellectualization of musical-performance interpretive art.
Such point of view represent new phase of musical pedagogy developing: in addition to traditional functional system of methodical securing, based on generalization of performance and pedagogical experience, actively enters scientific methodological potential, based on theoretically grounded conceptual-terminological system as a result of scientific-research activity in field of performance musicology.
Descriptive information: scientific terminology, artistry, interpretative tone, creative potential, emotional thought.

Summary

Derevjanko Lyudmila

The article describes the search of methodological basis for the popular vocal music and revises the polemic issues of the popular vocal music with regard to the speech level singing. The author employs the opinions of the leading scientists: V. Morozov, V. Yemelyanov, V. Yushmanov, considering the singing as a complex psycho-physiological phenomena and concentrates on the methodological approach.  Potential music teacher must have universal profound knowledge about the voice, methodological knowledge about various vocal methods and skills, about voice training methods and approaches, music teacher must clearly understand the difference between speech and singing, between classical and other types of singing, must provide the qualified consulting and be able to demonstrate without damage to voice the types of various vocal skills of the modern vocal music. However, taking into consideration the reasonability of such approach, the author highlights the certain disputable issues that can be seen in the modern vocal training. The grounded definition of the concept “popular singing/popular vocal music” still does not exist, the methodological basis of the named has not been outlines, among other various methods of vocal training some methods appear that can arise the disputes, i.e. Seth Riggs’ “speech level singing”.    The understanding of the essential sense of the popular vocal music methodology determines the interest to the opinion of the respected scientists, practical teachers, trainers, vocalists who are involved into different aspects of the present problem.

Annotation. Zaverukha E. Specificity of choral writing by Yu. Alzhnev

(for example of a lyric sugolosiya “The Native Vicinity”»: The article presents an attempt to study specific of choral lyric writing suholos “The Native vicinity” by Yu. Alzhnyev on which influenced worldview composer, his system of thought, where the key is to choose conceptual, dramatic, genre and stylistic principles (methods) writing and methods of work.
Choral writing "The Native vicinity" by Yu. Alzhnyev unifikation of the genre and stylistic context and defined philosophical and aesthetic attitudes, thinking characteristic of the composer. The essence of this work is based on the idea of infinity family – man, woman and child. This presents the structural organization of the work, three of which unifikation mans, woman’s, female and children’s choirs.
The component triad choral thinking and writing by Yu. Alzhnyev presented in the analysis of the work – is intonation, which means a dramatic course composition process and its real sound realization. Three starts (“type”), recorded in the work program and led to the selection of poetic texts, highlight tone resource consistently matching contrast striping across men's, women's and children's choirs. In the musical to drawing poetic images and symbols composer uses various techniques concerts and choral writing combining sonority and tutti divisi, comparison of similar choirs, text relationships, genre and style of presentation of choral writing.
A characteristic feature of the concept of work is a numerical symbolism that is associated with the idea of infinity – “eight”, embodied a certain system of choral writing: metric unit of work within the four quarters and variables, the three quarters and fives quarters meters and the amount is between the number eight.
Keywords: philosophy, thinking, choral writing, genre and stylistic context, logos.
Заверуха Олена Леонідівна. Викладач кафедри хорознавства та хорового диригування та естрадного співу ХДАК, здобувач кафедри інтерпретології та аналізу музики ХНУМ ім. І. П. Котляревського  (науковий керівник, доктор мистецтвознавства Л. В. Шаповалова).

Zayets V. M.

ESPECIALLY THE FORMATION OF THE KYIV SCHOOL FOLK INSTRUMENTS

The article examines the principles of academic formation and instrumental folk art in Ukraine . Specific nature of this process is the idea of ​​carrying on folk instruments reconsidered methods of performing adjacent sectors performance.

The main work on department of instrumental folk art performed M. Gelis, who, along with teaching at the Kiev Conservatory, studied piano department and concurrently studied theoretical discipline cycle. In different years , except for special tools , M. Gelis taught instrumentation , ear training , ensemble , orchestra , reading it for the first time developed a course on techniques of playing folk instruments . M. Gelis taught to play various instruments: accordion , balalaika, Bandura , domras, guitar, concertina . Case unprecedented for one teacher, moreover, that none of these areas of teaching was not for him passable . Among his pupils - outstanding representatives of contemporary folk instruments of detailed art: N. Davydov , M. Rizol (accordion) , S. Bashtan (bandura) , EG Blinov (balalaika), W. Ivko , T. Wolski (domra) and others. School MA David , who continued the work of M. Gelis, concentrating the experience of many schools as a related scientific fields (aesthetics , psychology, physiology, philosophy, ethics, etc.), and musical performance . Thus it accumulates achieve musical pedagogy , general scientific and practical performance and , in particular bayan schools. Multi activity M. Gelis as the founder of the Kiev Pedagogical School of Folk Instruments and M. David as the founder of scientific and theoretical principles in performing academic school of technology Ukrainian folk instruments embodies all the qualities inherent in the current model of progressive performing school and still has its individual and qualitative characteristics that positions them as the author .

Key words: academic folk instrumental performance, Kyiv School, methodological principles, M. Gelis.

Musician-Performer’s Self-Efficacy as an Indicator of Effective Public Presentation of Accomplishments

The article’s main intention was to emphasise the role of the construct of self-efficacy in enhancing the musician-performer’s acting on stage. Thus, basic assumptions of social-cognitive theory of Albert Bandura were referred to and studies on self-efficacy in classical music performers were reviewed. Expressing tips and advice for teachers-musicians on how to develop and support self-efficacy was a secondary intention.
Results of studies carried out in terms of education indicate that one’s self-efficacy beliefs turn out to be a better predictor of the quality of completing an objective than the related constructs – expectation of the result, a sense of control, and positive self-esteem. Reviewing the studies on self-efficacy of a musician-student carried out in a real event of performance using structural equation modelling (McCormick and McPherson models; dispositional and situational model of musician’s acting on stage by Kaleńska), indicates that self-efficacy compared to factors such as susceptibility to stage fright, learning strategies and the regulation of behaviour as well as task-value and motivational orientations, represents the most important predictor of the quality of musician-student’s performance of a piece in the event of an examination or a broadcast.
According to Bandura, an individual articulates his self-efficacy beliefs by interpreting information obtained from four sources: mastery experience, vicarious experience, social persuasions and affective states. With this knowledge, pedagogic activities may be designed in order to enhance young performer’s self-efficacy and improve his musical performance on stage.
Teacher enhancing student’s self-efficacy allows him to spread his wings – to believe in himself, to be aware of his own capabilities and to estimate them, to take full advantage of his potential in performing music.

Keywords: self-efficacy, musician, motivation, music education

The Professional Music Education in Zhytomyr: the Period of Formation

Music education is an important part of the city artistic life. The study of music education provides for conversion to the all its formation stages and particularly the active period of its foundation. In Zhytomyr it was the time of the early twentieth century, when the all forms of artistic activity have been getting there development. The aim of this article is to review music educational institutions during this period and to determine their impact on the subsequent development of music education system in Zhytomyr. The goal achievement is feasible by the usage of historical techniques of investigation that involve an access to the archival documents and the old printed media.
In the early twentieth century music was studied in all general schools: public, classical and specialized ones. Each of them had its own choir, some had even orchestras. As for specialized institutions, there were private music schools of P. Greenberg and of E. Kushchevska, as well as the piano classes of A. Ruzhytsky. Also there were Music Classes under the Zhytomyr Artistic Society. But the most outstanding institution was the Music Classes under the Zhytomyr Department of the Imperial Russian Music Society.
The high level of general and special artistic training was provided by the graduates of the leading European conservatories. In spite of the constant educational reorganizations after the Revolution the newly created institutions could make a reliable base for the further prolongations of the artistic heritage. This has provided today’s Zhytomyr with a good cultural climate as well as its high level of the professional music education. Thereby the investigation of the music education starting stage is an important object of the scientific interest because of its significant influence on the present.

Keywords: music education, concert activity, cultural life of Zhytomyr.

The activity of the ensemble advances the question of creating conditions for the intensification of personal expression and creative self-teens as the acute and urgent problems of modern pedagogy. In the process of collective ensemble music of the partners interpersonal relationships are traditionally occurred that are formed on the principle of subject - specific functional role interactions, but over time they become relatively independent. Active communication in the process of ensemble activity contributes to the development of skills for effective interaction with people and facilitate interpersonal contacts outside musical performance, promotes personal self-expression and self-realization. The purpose of adolescents communication is self-disclosure and the knowledge of its real "I" from the point of view of personal prospects.
Emotionally positive atmosphere in the ensemble of folk music presupposes a spiritual understanding and psychological compatibility of partners, it is becoming the key to the success of the team and of artistic and creative self- teens.
Significant educational opportunities laid in the folk tradition, in which education takes place in the context of the life of the people, family - naturally, of course, that is, so that the young person does not even feel that she brought up. After all, tradition as a characteristic feature of national life exists in the syncretic unity of all its sides: moral, human, ethical, aesthetic, etc.
Features of creative self-activity of adolescents in  condition of folk music ensemble activity requires the combination of collective forms of work with individual one, helping individual students to master the initial skills of playing the instrument and at the same time put more complex requirements for pupils who have achieved a certain level of performance.
The mastery of ensemble music makes it possible by the diversity of the forms with the team, the alternation of activities and the creation of different composition of ensembles based on one of the creative teams, which will develop the pupils interest in the ensemble activities, awareness of folk art, musical thesaurus knowledge, the mastery of musical performance skills, creating a positive emotional climate of cooperation in the collective artistic and creative communication with the music and focus on the artistic and creative self-realization.

The dynamics of development of German theatrical aesthetics in XVIII century.

The article deals with the dynamics of development of German theatrical aesthetics in XVIII century. In order to identify the main achievements in this area which are mainly associated with the names of G.E. Lessing, J.W. Goethe and Schiller, author analyzes the theoretical experience of their older contemporaries – C.F. Gellert and J. E. Schlegel. In this regard, the purpose of the investigation is the generalization of aesthetic and art studies research of German Enlightened in the field of drama and stage art. Due to the definition of common guidelines in the development of the theory of drama, as well as some differences in views on the problem of dramatic art, the individual approach of three giants of the Enlightenment in the development of theatrical aesthetics revealed. Basic theoretical concepts of Lessing in this area worked out in a decisive confrontation of classicist patterns imitation which was active spread by the supporter of French theater rules J.C. Gottsched. The basic positions of the theory of drama and acting in theoretical heritage of Lessing include the ability to play on the stage the real conflicts and life reliable characters, in this respect, his name is rightly associated with the beginning of modern European theater statement. Systematization of Goethe views on theater art, mainly takes place during the Weimar classicism, as confirm his theoretical exploration of the time. The range of Goethe's theatre interests presented by research both in the field of dramatic and stage art. When considering the Schiller’s theatrical aesthetics the author singles out his views on the tragedy, tragic hero character, moral and social significance of theater and reveals the impact of considerations of Lessing about ugly in tragedy on the construction of images of Schiller's drama "The Robbers".

The results of the analysis provide the opportunity to single the "theatrical aesthetics" in German aesthetic-art study thought as a separate line of research as early as the XVIII century because the theoretical legacy of Lessing, Herder, Goethe, Schiller essentially laid the scientific foundation for systematic research in drama and acting work.

Scientific novelty, especially related to the introduction in theatre study research of article "In Search of Goethe" by Jose Ortega y Gasset and the letter of T. Mann to J. Fucik on 04.15.1932, comparison of which helps to understand more deeply the reasons for the Goethe's transition from the implementation of ideas of "Sturm und Drang" to the art of high ideals (Enlightenment classicism). In addition, the article singles out the views of Herder directly on theater that in terms of practical significance enhances the information in the field of theater art history and theory. Also it is determined the stimulating importance of theoretical views of Enlightened on the further development of both the aesthetic-art study research and theatrical practice.

G. Misko. Transformation of winter rite in contemporary cultural and artistic space (experience of Ternopil «Vertep»).

In the article highlights the problem of preservation and transformation of the winter ceremonial events in the contemporary youth of Ternopil region.
Кeywords: Ternopil, ceremonial action, Christmas caroling, youth society.

In the modern artistic medium of baton spread and popularization of ritual performances are actively caught the youth. Try to prove this thesis based on the analysis of activity of artistic groups of the Youth Association «Vertep» (Ternopil), members of which, already more than twenty years, collect, study, preserve, and the reconstructed ceremonial events and local folklore, popularizing in artistically interesting forms of national heritage of the Ukrainian people. The active work of the society members encompass a variety of areas: research, cultural-educational, concert, publishing, etc. However, all of these trends were primarily aimed at the conservation, study and popularization of regional folk traditions. One of the main activities of the Association become field folklore expeditions on native land, the purpose of which was to search for whistleblowers who could play, ceremonial winter action.
The members of the Association in 1990, in the first time in Ternopil, at Theatre square city, performances were the best verteps music. This action has become traditional and each year showing of gaining new momentum, thematically expanded, and soon outgrew the regional Festival of verteps in which have participated the best groups of the Western region. The tradition of festival continues to function in the modern social and public life, including the significant number of Ukrainian youth. On the occasion of 5th anniversary of the Ternopil Association «Vertep», the Department of youth and sport of the Ternopil city administration, was organized by the scientific-practical Conference «The spiritual treasures of the Ukrainian people in the lives of young people», which took place on 24-25 February 1994.
Cultural-artistic and civic society working in various aspects of activity gave an active push for preservation of folk music traditions. Company «Vertep » helped to contribute a wide range of admirers of the Ukrainian folk culture to the heritage of the Ukrainian people. In the traditional ceremonial performances in terms of modern artistic environment of Ternopil was saved by regional peculiarities especially bright musical-theatrical genres of national culture.

Muravskaya O.V. V. Rebikov’s «Gentry» and genre and stylistic aspects of the «psychographic music-drama». The article investigates the characteristics of the musical theater V. Rebikov - an a little-known Russian composer, a contemporary of A. Scriabin, S. Rachmaninoff, I. Stravinsky. B. Rebikov - author of numerous piano, vocal works, the style of which is connected, on the one hand, with the traditions of Russian culture, creativity, Tchaikovsky, Mussorgsky, on the other - with the traditions of Impressionism, Symbolism, Expressionism. V. Rebikov’s Musical theater  - the area of creative experimentation composer. His opera V. Rebikov called «dramas of the spirit». They are built on a synthesis of music, poetic, scenic action, dance. The most famous of them – «Christmas tree», «Thea», «Woman with a dagger». The last  «drama» composer «Noble Nest» was painted on the eponymous novel by Ivan Turgenev.
Pioneering V. Rebikov to the operatic genre, his desire for a new interpretation was consistent with the general processes of the evolution of musical theater, not only in Russian but also in the Western European tradition of the early twentieth century. Their meaning is ultimately focused on the attraction to small forms of opera, chamber music to monoopera to focus strongly on the psychological drama. They are characterized by declamatory recitative style vocals and the search for new forms of free music and drama scenes.
For V. Rebikov’s «Gentry» is typical continuous development of action, plenty of cross-cutting themes, the presence of leitmotiv system, there are also theme - reminiscences . Throughout the performance dominates a special kind of immersion in the feelings and experiences of the characters. Accent events inner lives of the characters creates the advantage over the external development of the action, which to some extent is also consistent with the positions and Symbolist art.
This «psychographic drama» sufficiently distinctive and compositionally. In the opera, there is no overture , no complete constructions arioso , defines the type of characters create goodwill - declamatory vocal that brings the kind of «Noble Nest» with the Dargomyzhsky’s operas («The Stone Guest») and with experiments Mussorgsky ( «The Marriage»).
Rebikov’s drama characterized thrust to the software and a special kind of literary , indicative of Symbolist art that manifests itself in the plural number of copyright remarks that are oriented not so much on the vocal- performing specific work, but on the actor's interpretation of the roles of the main characters of the product. In the «Gentry» principle prevails through development. There is no division into the room. Wholeness and unity is created through the use of leitmotiv of the system, as well as the fact - reminiscences. In this case, the drama V. Rebikov contact with the Wagnerian tradition, which was very important for representatives of the era symbolism.

Keywords: Russian culture, music and drama psychographic, symbolism

Muravskaya O.V. V. Rebikov’s «Gentry» and genre and stylistic aspects of the «psychographic music-drama».

The article investigates the characteristics of the musical theater V. Rebikov - an outstanding Russian composer, a contemporary of A. Scriabin, S. Rachmaninoff, I. Stravinsky . B. Rebikov - author of numerous piano, vocal works, the style of which is connected, on the one hand, with the traditions of Russian culture, creativity, Tchaikovsky, Mussorgsky, on the other - with the traditions of Impressionism, Symbolism , Expressionism. V. Rebikov’s Musical theater  - the area of creative experimentation composer. His opera V. Rebikov called «dramas of the spirit». They are built on a synthesis of music, poetic, scenic action, dance. The most famous of them – «Christmas tree», «Thea», «Woman with a dagger». The last  «drama» composer «Noble Nest» was painted on the eponymous novel by Ivan Turgenev.
Pioneering V. Rebikov to the operatic genre, his desire for a new interpretation was consistent with the general processes of the evolution of musical theater, not only in Russian but also in the Western European tradition of the early twentieth century. Their meaning is ultimately focused on the attraction to small forms of opera, chamber music to monoopera to focus strongly on the psychological drama. They are characterized by declamatory recitative style vocals and the search for new forms of free music and drama scenes.

Keywords: Russian culture, music and drama psychographic, symbolism.

Nu Nin
The conversion inside the genres in the works by Prokofiev
(based on the training samples of material)

A particular problem is the creation of musicology many composers in one movement works that embody the traits of cycling and form a sort of false cyclicality. These works include the First and Third Piano Sonatas and First Concerto for Piano and Orchestra by Sergei Prokofiev.
This problem has not been the focus of musicologists. But it has to be addressed gradually. Therefore, the focus we are Prokofiev's piano sonatas, among which there is the above phenomenon.
In this connection there is another problem. Due to the nature of creating Sergei Prokofiev his early works - mainly educational (school) work.
The article proposes discussions about the use of Sergey Prokofiev his early works - is mainly educational work. The features of the early work of the composer - a genre of piano sonatas - the First, Second, Third and Fourth.
Special attention is drawn to Prokofiev's Third Sonata - to one of the most striking works of the composer. Builds temporary, is cyclic and stylistic hierarchy early sonatas.
It turns out that Prokofiev's Third Sonata is temporary, genre, cyclic second place, anticipating, pushing it in time and style of creation, as it uses the material of educational work. The problem of different types of editing, revision and updating of previously created works.
Keywords: creative method, educational works, processing of the early works, re-editing, false cyclicality, interpretative.

Synergetics considers development as repeated and regular alternation between chaos and order (deterministic chaos), which means that the chaos has a creative force, capable of giving birth to the new order.
Study on the relationship between order and chaos is not confined to the study of transitions . It is important, how is this transition, as the dividing line, and is synthesis. The simplest form of synthesis-dissipative structure. Unlike the equilibrium structure, dissipative structure can exist only when a constant exchange with the environment, substance, energy and information.
Motivating force behind responsible for self-organization of dissipative, is social selection.  Synergetic theory selection represents progress as chain mutations, which achieved a high degree of implementation of an ideal. Sampling is a means of feedback from the external environment to the system, thus the selection system of her situation informed in the external environment.
All aspects of the professional activity, the inner life of the actor predicated realizing its ideals and carry yourself in this ideal is to achieve the maximum level of self-actualization. That was the purpose of interact factors of selection for a self-organizing system.
The article analyzed the professional realization through mechanisms of social selection as a motivating conditions for self-organization of dissipative systems-actor musical. Shows the inevitability of super-selection, as the result of a regular professional artistic activities and personal development actor musical. You must emphasize that selection factors are linked in either forward or reverse direction. Thus, only the interaction of all three factors-thesaurus, and detector-selector makes clear creative power of selection and his ability to create a new, better, unpredictable.
Therefore, logical to claim that the professional activity and development of actor musical can be described using synergistic concepts, that provided an opportunity to look at creativity, not only as a "Sacrament", but also as an algorithm of professional action, which is useful as a pedagogical purpose, strategic planning for career development and a common understanding of the picture of a globalized world, all segments which are interrelated.

L. Povzun, Ph.D., assistant professor of chamber ensemble and quartet Odessa National Academy of Music A.V. Nezhdanova.

Performing gestures as a part ensemble instrumentalism

Performing work in ensembles (from Fr. Ensemble - together) is defined a combination of individual self-solo voices and aimed at harmonizing complex conscious musical ensemble interaction to achieve the artistic integrity of the performance. Any ensemble is impossible without a clear ordering, a coherent system and its parts, matching all very different and sometimes conflicting components.
Ansamble is as a genetic trait musical creativity, which involves a dialogue of man with the tool even when performed solo, is the basis of the concept of musical instrumentalism.
In the concept of musical ensemble performance becomes a multilevelinstrumentalism as expanding substantive base (objects of human activity) - a set of tools, the process of "realizing the idea" also complicated by the coordination of theoretical and practical activities of all parties sharing the creative act, which allows, in our view, to isolate the concept of ensemble instrumentalism.
Based on the above, meaning of the concept of ensemble instrumentalism is the multiplicity of subject-instrumental composition and performance ensemble perfectly and psychological characteristics of participants in the process of co-creation form a new total quality instrumental and artistic expression - ensemble interpretation, which, along with music playback, seamlessly incorporates performing gestures, facial expressions, body plastic Performing in-game movements born by conductor directing-way regulation ensemble.
Performing gestures regulate the course of game play, not only in synchronization of sound - to achieve a specific sound-stroke on any instrument prior to certain movements of the body, hands, head, "send information" ensemble partners about artistic intentions of the artist. Plastic instrumentalist has its own individual system of gestures used for communication of ensemble. Performing Mutual exchange of gestures and is based psycho instrumental ensemble coordination.

Tatarnikova A. A. «Ondine» by E. T. A.

Hoffmann in line with the traditions of the interaction between Romanticism and Biedermeier.

This article analyzes the stylistic genre-specific «Undine» by E. T. A.  Hoffmann in the context of style «dominance» of the German culture of the first half of the XIX century - Romanticism and Biedermeier. The title essay is born through interaction and romantic bidermeier stylistic traditions, illustrative of the German culture of the first half of the XIX century and defined the unique genre and stylistic look of the German musical theater of the Restoration. Romantic opera began in Hoffman evident in a comparison of the theme of real and fantastic worlds, and in the ideal shape of the main character as a kind of symbol of the eternal feminine.
Fouquet tale «Ondine» (1811), which appeared already in the «sunse» of the German literary romanticism, is an essay in which the original image is combined pronounced romantic literary tradition, as well as those spiritual and semantic aspects, which later will be relevant to the culture and Biedermeier in this capacity will be realized in the same Singspiel E.T.A. Hoffmann.
«Ondine» by E. T. A. Hoffmann born through interaction and romantic bidermeier stylistic traditions, illustrative of the German culture of the first half of the XIX century and defined the unique genre and stylistic look of the German musical theater of the Restoration. Romantic opera began in Hoffman evident in a comparison of the theme of real and fantastic worlds, and in the ideal shape of the main character as a kind of symbol of eternal femininity, who came to the human world from the water element, and a plot motif of disappointment and awareness of moral and ethical imperfections prevailing in the world of people and destroying at some point thus the harmony of divine, natural and human. In the Hoffman’s «Ondine» plays a significant role lyrical and psychological factors in the disclosure of images of the main characters, which leads to the possibility of combining the dramatic composer finished rooms and cross-cutting scenes , the use of leitmotiv of the system, operating a free song- and declamatory arioso types of musical expression with increasing significant role instrumental factor that is, all those aspects that will determine in the future the essence of German romantic opera itself.
However, the poetic and intonation features E.T.A. Hoffmann's «Ondine» and show an obvious connection with the cultural and historical tradition of German Biedermeier. Said clearly and stylistic uniformity of the opera, in which both real and fantastic worlds (with the exception of the image Kyuleborn) evoke a common musical and expressive means («One World»), thereby weakening the signs of a romantic drama. Designated stylistic quality is obvious and explicit avoidance in the libretto (authored by himself Fouquet) of many dramatic situations, quite clearly represented in the story (and the rivalry of Ondine and Bertalda, all the tragedy and mystical knight Huldbrand funeral scene with the ghost of Ondine and many others). The essential point is figurative-semantic aspect of the Opera also serves a significant role of moral and didactic narrative factor, the protection of the patriarchal family values that map to a certain point, «Ondine» by E.T.A. Hoffmann in the category of «eye-opening stories» from the «old German». This is confirmed also peaceful ending of the opera, which, according to Weber's, «leaves a feeling of great peace» [3, p. 83]. Bidermeier aspect of opera Hoffmann is also evident in the types of the main characters (Ondine, Fisher, Fisherman's Wife, Priest Heilmann), which were essential simplicity, deep sincere faith, forgiveness, spiritual experience of life, that is, the qualities that were highly indicative for heroes of German Biedermeier [ 7].

Keywords: Romanticism, Biedermeier, German opera, Singspiel.

Tatarnikova A. A. «Ondine» by E. T. A.  Hoffmann in line with the traditions of the interaction between Romanticism and Biedermeier. This article analyzes the stylistic genre-specific «Undine» by E. T. A.  Hoffmann in the context of style «dominance» of the German culture of the first half of the XIX century - Romanticism and Biedermeier. The title essay is born through interaction and romantic bidermeier stylistic traditions, illustrative of the German culture of the first half of the XIX century and defined the unique genre and stylistic look of the German musical theater of the Restoration. Romantic opera began in Hoffman evident in a comparison of the theme of real and fantastic worlds, and in the ideal shape of the main character as a kind of symbol of the eternal feminine.
Fouquet tale "Ondine" (1811), which appeared already in the «sunse» of the German literary romanticism, is an essay in which the original image is combined pronounced romantic literary tradition, as well as those spiritual and semantic aspects, which later will be relevant to the culture and Biedermeier in this capacity will be realized in the same Singspiel E.T.A. Hoffmann.
Keywords: Romanticism, Biedermeier, German opera, Singspiel.

Liu Tsyantsyan

National-style features of piano works of Rodion Shchedrin

Distinctive and original works of Rodion Shchedrin called a warm response from the musicians - professionals and music lovers, leaving no one indifferent. His piano works are distinguished by originality of presentation, challenging perceptions and varied interpretation. Unfortunately, they are not often heard in concert, so the study of piano works Shchedrin is an actual problem.
Shchedrin - is a true Russian composer. In his work are refracted traditions of Russian classical music of the last century and some of the features of modern Western European trends. The purpose of this research - to characterize style features of piano works of composer.
For Shchedrin polyphony is the natural way of thinking. All of his work can be considered as an example of sequential contrapuntal style. Polyphonic techniques of presentation and development of the musical material form the basis of each piece of the composer, performing in them the important role of the molding.
Feeling the attraction to polyphonic texture, composer consciously comes to polyphonic opus, creates large-scale cycle "24 Preludes and Fugues" and in it demonstrates the broad possibilities of the methods and techniques of material.
If we separate from the work of R. Shchedrin's leading of processes that determines the cycle of the composer's style - it's a new attitude to the music of time, which clearly affected the interpretation of the play in a two-part series - foreplay. The vast majority of Shchedrin's preludes seem very concise - it is, at times, almost aphorisms. Shchedrin, in most cases, considers prelude not as a self-play cycle, but as an introduction, the introductory part of a fugue that prepares her thematically, a rhythmically, texturally, figurative and emotionally.
Thematic findings are extremely interesting in the fugues of Rodion Shchedrin. Composer seeks to find ways of updating the Fugue, expanding her figurative and expressive.
Shchedrin has carried out a major shift in the genre of the Fugue. In fact one active dynamism and contrast of drama, which are the source of movement and development of his music, could not affect the fugues, occupying a leading place in his work. Furthermore, intonation development of themes, which has become a vivid sign of stylistic creativity of Shchedrin not only penetrated into smaller simulation forms (canon, canonical sequences, which often is only the principle of a form with the full freedom of intonation), but also caused many features in the application of composer system of moving counterpoints.
Impression of great novelty which occurs when listening to fugues of Shchedrin, largely depends on the originality of their harmonic and tonal organization, which in its turn is determined by the interpretation of the composer of polyphony, similar to the principles of polyphony of the Baroque.

Keywords: polyphony, prelude, fugue, texture, piano.