Тенденції перехідності у камерно-вокальній творчості російських композиторів xix – початку хх століть.

The purpose of the article. The article identifies the main factors that influenced the formation and development of Mykola Malyshko’s artistic style in the context of the cultural and artistic processes of the 1960s. Methodology. The following scientific methods are combined: analytical, systematic, historico-cultural, contextual, comparative, and art analysis. The use of these methods allowed us to investigate the period of study of Mykola Malyshko at the Kyiv State Art Institute in 1961–1967, to outline the circle of communication of the artist, as well as to determine the characteristic features of his creative style. Scientific novelty. The work is the first fixation of unknown facts from the creative biography of Mykola Malyshko. Conclusions. During the studied period, Malyshko tries himself as an easel painter, monumental painter (mosaic), sculptor. After analyzing the currently existing information, namely «Svoboda, yak vyiavliaietsia, – tse volia dlia svavoli… : [besida Oleny Yehorushkinoi ta Pavla Hudimova z khudozhnykom M. O. Malyshko ta yoho druzhynoiu N. M. Denysovoiu], s. Maliutianka, Kyivskoi obl., 2012–2013 rr.», we can confidently assert that the main factors that influenced the formation and development of Mykola Malyshko’s artistic style in the 1960 s, were active participants in the activities of the club of creative youth «Suchasnyk» and attempts to move away from the methods of socialistic realism in art. This is clearly illustrated by: a mosaic portrait of T. G. Shevchenko made in 1961; exhibitions at the Taras Shevchenko Kiev State University 1963–1964; the development in 1967 of scenography on the occasion of the 70th anniversary of Les Kurbas, which he implemented together with colleagues Viktor Grigorov and Viktor Ponomarev during his studies at the Kiev State Art Institute and in sketches from summer student practice in 1962 and 1964,that the artist himself considers significant in the formation of personal creative style.

The article examines the chamber-instrumental work of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, People’s Artist, awarded the honorary title of ‘Artist of Peace’ by UNESCO. The article also highlights the characteristics of the musical and harmonic language, original timbre combinations, unusual dynamics, methods of using modern musical techniques of chamber-instrumental works of Franghiz Alizadeh, which is an area of her creative work that combines East-West music synthesis. The article analyzes Franghiz Alizadeh’s composition ‘Oasis for tape recorder and string quartet and gives specific features of the work. The article emphasizes that Franghiz Alizadeh’s presentation of Oriental thought in a synthesis of modern methods in the composition ‘Oasis’ is a unique feature of the work. The purpose of the research is to analyze the composition of Franghiz Alizadeh’s ‘Oasis’ and to determine the individual stylistic features of the composer. The interpretation of important innovations in Franghiz Alizadeh’s chamber-instrumental work and the discovery of its connection with modern music culture is especially emphasized. The basis of the research is the involvement of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, in the research work of the composition ‘Oasis’, which has not been subjected to scientific and theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that Franghiz Alizadeh’s chamber-instrumental work was formed in the context of the development of modern music, and modern technical methods were manifested uniquely. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists. The scientific novelty of the research is that for the first time, the general features of Franghiz Alizadeh’s chamber-instrumental creative work were studied within the framework of Azerbaijani music science, and the composer’s composition ‘Oasis’ was analyzed in detail. At the same time, based on the analysis, the article presents a detailed scientific study of the composition ‘Oasis’, which is of great importance in the work of the composer. Conclusions. The comprehensive analysis of Franghiz Alizadeh’s chamber-instrumental work and especially the composition ‘Oasis’ in the presented article allows drawing important conclusions about the features of the composer’s creative style. Franghiz Alizadeh is a modern Azerbaijani composer distinguished by her original creative style, and it was noted that the deep content of her works, distinguished by her unusual style of performance, is important in our national music art. It was noted that the East-West synthesis is dynamically manifested in the composer’s work, and this feature is directly felt like her works. From this point of view, F. Alizadeh’s camera-instrumental work is distinguished by the difference of modern writing techniques with rich images, and she has achieved great success not only in her native Azerbaijan but also far beyond its borders. It should be noted that Franghiz Alizadeh’s works, which combine East-West synthesis, have been performed in many countries and met with success. From this point of view, the composition of ‘Oasis’ differs by its rhythmic structure, artistic content, and texture form. It is especially emphasized that the unusual performance of the composition ‘Oasis’ was used to reveal a certain image. It is noted that the composition has a different musical language, along with deep content and non-traditional features. The combination of serial technique and mugam elements gives the composition ‘Oasis’ originality. It is noteworthy that the tape was used as an integral part of the camera-instrumental work. It was noted that the composition "Oasis", as a work of synthesis of theatre and music, has a theatrical effect. Franghis Alizadeh is currently living the period of wisdom in her work and enriches the professional music of Azerbaijan with her unusual works of modern type, which combine East- West synthesis.

Interpretative aspect of C. Saint‑Saëns’s piano music

The purpose of the article is to explore the interaction of screen and stage activities, to study the influence of theatre performances on cinema, to identify the emergence of new genres in cinema through the combination of different art forms, and to outline the significance of screen adaptations of literary works. Research methodology. The analysis of theoretical materials and scientific works was used to determine the influence of different types of art on each other, the role of the transformation of a literary work into a screen one and the emergence of new artistic genres, which includes the study of the relationship between different artistic disciplines, as well as the impact of their evolution on the formation of new creative trends and styles in contemporary art. The specifics of adapting literary works to the screen format are revealed, including the study of methods of transferring plot, characters and ideas from a book text to the screen, as well as the analysis of the impact of this process on the audience’s perception of the work and its interpretation. The method of comparing different art forms was used to characterise the interaction between literature, cinema, theatre and other art forms, identifying similarities and differences in their modes of expression and impact on the audience. The synthesis method allowed us to discover the peculiarities of the interaction between different art forms and to identify how the interaction between literature, cinema, theatre, and other art forms contributes to creating new possibilities for interpretation. Scientific novelty. A scientific novelty. For the first time, the author analyses screenworks and stage productions as separate types of cultural activity, studying the mixing of genres and the emergence of film opera as a new contemporary art form by adapting literary works. Conclusions. The study analysed the interaction between cinema and the performing arts and revealed the mutual influence of theatre productions on-screen activities. The study examines how the aesthetics and techniques of theatre influence the shooting and editing of films. In addition, the author outlines the vital role of film adaptations of literary works in developing cinema and its importance as a way of transforming a verbal text into a visual and audiovisual product and enriching the audience’s artistic experience.

Music of the 21st century is a testimony to radical changes in the development of musical art. Rejecting the traditional norms of the classical era, composers of the new century seek new means of expression, experimenting with musical form, harmony, rhythm, timbre, and other elements of musical language. Contemporary piano music is characterized by a wide variety of styles, genres, and forms, reflecting the multifaceted creative explorations of musicians in the new era. In addition to the technical challenges that place high demands on performers, it also opens new possibilities for artistic expression. Analyzing musical works of the 21st century in terms of their figurative content and stylistic nature becomes an essential component of musicological research. Contemporary composers actively use the latest technologies and combine classical and innovative methods of composition, opening new horizons for musical interpretations. At the same time, 21st-century piano music is marked by a variety of interpretative approaches, as each work requires individual interpretation and a particular understanding of compositional techniques. Due to the integration of new musical languages and technologies, as well as the development of compositional strategies that break with past traditions, modern piano works acquire a special complexity and universality. An important aspect is that today music is more significantly revealed in the context of globalization, where the interaction of different cultures and styles fosters the emergence of new musical trends. In this context, the study of the stylistic and genre features of works created in the 21st century is especially important, as it helps not only to understand changes in musical thinking but also to formulate new approaches to performance techniques and pedagogical practices. The creativity of composers of the new century allows us to view music as a constantly evolving process, integrating new technologies and interpretative strategies. However, it is also important to note that all these innovations continue to serve as the foundation for cultural identity and the preservation of traditional musical heritage.

Art that presupposes the concept of beauty is realized through the artist’s original form and logic, as well as high-level technique. Art (in its traditional concept) must be beautiful and communicate with the audience through the message the artist intends to convey. The artification of music is considered to have begun in earnest from the Baroque period, the era of so-called ‘Musical Arts,’ when instruments developed, equal temperament became common, and an academic system was established. As music became academically and artistically systematized, it was divided from an aesthetic perspective into ‘excellence of form’ and ‘factual representation (or imitation).’ The Baroque and Classical periods, which advocated absolute music, and the Neoclassicism and Serialism of the 20th century, have ‘excellence of form’ as their aesthetic foundation, while the program music of the Romantic era and the Impressionism and Expressionism of the 20th century are based on ‘factual representation (or imitation).’ The aesthetics of formal excellence involve the intervention of an absolute being, God, and the criteria of concepts are metaphysics, namely truth, goodness, and beauty, with harmony, balance, and dignity being absolute standards. The aesthetics of factual representation (imitation) were based on the metaphysical (or empirical) elements of personal taste and pleasure. In music history, popularization has been realized through compositional techniques incorporating popular elements, composition for practical purposes, social phenomena, the direct participation of the public in musical activities, and through minimal music and electronic music. The expansion of the aesthetic spectrum from metaphysics to physics did not lead to the dichotomy of music but rather a dynamic of balance throughout history.

The article analyzes the international experience of forming an individual style of professional activity of future translators. The emphasis is placed on the importance of training competitive translators with a high level of desire for personal development, knowledge of business ethics, understanding of the requirements for appearance that corresponds to the situation in professional activities, etc. The purpose of this article is a theoretical study of the process of forming an individual style of professional activities of future translators abroad for the prospect of further use of positive experience to improve the system of higher translation education in Ukraine. The experience of countries with high results in the field of training competitive personnel, namely countries with a highly developed system of training, including philological profile, is revealed. It has been established that the formation of an individual style of professional activities of future translators in Spain must take into account the market requirements, which are reflected in educational practice. The strength of the UK in this process is the introduction of independent educational courses that form such competencies as the ability to use information and communication technologies on a theoretical, practical and creative levels in professional translation activities; understand and use techniques of business communication in a particular situation, the ability to negotiate and ways to influence the interlocutor; analyze and be able to apply in professional activities the knowledge of historical aspects of translation development, etc. As a result of the analysis of foreign scientific literature, the following organizational and pedagogical conditions of formation of individual style of professional activities of future translators abroad are substantiated: taking into account the requirements and features of the market of translation services for preparation of future translators; ensuring the relationship between the educational process and real professional activity; the study of different word-forming models in a foreign language; the introduction of educational courses (technical written text, copywriting or legal editing, etc.), which are aimed at developing writing skills, etc. An important aspect of the article is discussing the process of forming the professional image of a future translator, as a component of the individual style of professional activities. It is noted that in the foreign scientific literature a lot of attention is paid to such a phenomenon as the “individual image of the translator”and the process of its formation. The main thing in the context of this problem is the creation of academic disciplines that reveal the basics of psychology of communication, imageology, psychology of interpersonal cognition.

The research aims to shed light on the metamorphoses of the musical language of the famous Russian composer A. T. Gretchaninov, active in the late XIX century – the first half of the XX century, which occurred in the 1910s. The paper pays special attention to the identification of the stylistic singularity of “Pastels” Op. 61 (1912-1913), a cycle of piano pieces. The scientific originality of the research is connected with the fact that A. T. Gretchaninov’s creative work has not been previously considered in the context of the changes that took place in the composer’s musical style in the 1910s. As a result, it has been revealed that the novelty of Gretchaninov’s musical language in the period under consideration was due to both changes in Russian art in general (in particular, the influence of impressionism on the composer’s work turned out to be significant) and crises in Alexander Tikhonovich’s personal and creative life. In particular, this trend can be traced in the history of creation of the cycle “Pastels”: during a difficult, critical period, Gretchaninov turned to composing music for children, in which he would find solace, but the piano pieces in the cycle turned out to be generally sad in an unchildlike way and psychologically saturated with deeply “adult” feelings and experiences.

The paper presents Dizzy Gillespie’s creative portrait through the lens of the leading tendencies of jazz development in the crucial period of the 1940-1950s. The musician’s style is analysed taking into account tonal-phonic, rhythmic, pitch and structural-compositional components. Scientific originality of the study lies in the fact that Gillespie’s style is considered against the background of general tendencies of jazz development in the period of formation of the earliest jazz style - be-bop. The conducted research allows concluding that Dizzy Gillespie contributed significantly to the evolution of jazz - from light music, an attribute of mass culture, to elitist, artified jazz.

Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI

Statement of the problem. The 20th century is a complex uneasy period, especially for Ukraine, where the living and cultural space was being actively cleaned from “enemies of the people”. Almost all Ukrainian intellectuals, especially scientists and composers, get this stigma. Vsevolod Zaderatsky, a genius of Ukrainian musical culture, a composer who, in terrible, inhumane conditions being a prisoner of Gulag, managed to create the masterpiece “24 Preludes and Fugues”, without an instrument and the necessary pencils and erasers, writing without drafts, fair copy, For the first time in 400 he revives a polyphonic cycle similar to J. S. Bach’s one, putting into it all the depth and tragedy of human life in the 20th century. Objectives, methods and novelty of the research. The purpose of the study is to analyze the historical, cultural and psychological aspects of the work by Vsevolod Zaderatsky to show the specifics of the composer’s thinking and writing of the monumental polyphonic cycle “24 Preludes and Fugues” and to reveal the peculiarities of performing difficulties and tasks to give advice on studying the cycle. The scientific novelty is the context approach to the analysis of performance tasks in V. Zaderatsky’s “24 Preludes and Fugues”. The following research methods were used: the context analysis of cultural, historical, psychological and musicological conditions of writing the cycle; the genre-style one to show the specifics of the composer’s musical language in the cycle; phenomenological approach to identify the facts of the composer’s creative biography and the social preconditions influenced on his artistic worldview; valuable and meaningful one to understand the composer’s philosophical vision embodied in the “codes” of polyphonic texture; music textual analysis of the cycle to create a performing interpretation. Conclusion. Vsevolod Zaderatsky – a genius of Ukrainian musical art, a wonderful pianist, a talented teacher was deliberately erased from history by the Soviet authorities. The cycle “24 Preludes and Fugues” is a kind of diary, created during the years of exile in horror circumstances, without proper conditions for creativity. Thanks to this work, the composer managed to preserve his psyche and leave a masterpiece for posterity that we should be proud of and that we should perform. A comprehensive analysis of the cycle in musical-historical and genre-stylistic contexts proves that the little-studied, in fact not performed in its entirety (it was performed only once in Ukraine!) masterpiece of V. P. Zaderatsky “24 Preludes and Fugues” should occupy its niche in the history of piano of art and needs to be popularized as a memory of the dark times of erasure of Ukrainian history, culture and art, often without the possibility of rehabilitation.

The article studies S. V. Rachmaninov’s famous work – “Elegie” op. 3. The background of the composer’s tragic perception of the world, determined by his worldview in general, influenced his running out of the limitations of elegy as the genre model. For instance, the concept of “tragic farewell” is one of the constants in the composer’s works and his perspective on life. The article highlights similarities and common points between the works of S. V. Rachmaninov and the elegies of French composers, creations of P. I. Tchaikovsky, the poetic work of V. K. Trediakovsky, as well as the ancient prototype of the genre – the chant of the double flute of Asia Minor. Moreover, the study shows the presence in the worldview of S. V. Rachmaninov the “East theme” and some elements of the musical language of P. I. Tchaikovsky, creatively revisited and integrated as a component of his artistic style.

This study concentrates on central points of criticism addressed to Sufis by more traditionalist and normative scholars of Islam from classical period, especially by the ḥadīth authorities (muḥaddithūn), in the ḥadīth methodology (uṣūl al-ḥadīth). It analyzes peculiar characteristics of Sufis in ḥadīth narration in comparison with the mainstream methodology of the muḥaddithūn, with a special focus on the Sufis’ emphasis on the internal and spiritual dimensions of the ḥadīths. The study lists a number of critical scholarly issues around which the Sufi approaches to ḥadīths are formulated and criticized, like their alleged omission of the transmission chains (sanads) of ḥadīths; their general tendency to narrate the ḥadīths in meaning (ma‘nā) rather than in literal wording (lafẓ); their ḥadīth narration relying on spiritual unveiling (kashf), inspiration (ilhām) and dream (ru’yā); their interpretations (ta’wīl) of the ḥadīths on the basis of their specific way of thinking; and their belief of the existence of certain mysterious ḥadīths. Providing a survey of such scholarly issues between the members of the Sufis and muḥaddithūn, this study examines the nature of such criticisms on the basis of the writings of certain authoritative figures in the history of Sufism, including Abū Ṭālib al-Makkī, Abū al-Qāsim al-Qushayrī, and Muḥyī al-Dīn Ibn al-‘Arabī.

The goal of this study is to compare both dental and skeletal stress indicators of the Classic and Postclassic coastal and inland sites of the State of Quintana Roo, Mexico. The hypothesis is that coastal populations will show osteo and dental pathologies characteristic of a primarily marine food source combined with a diet of horticultural resources. This kind of alimentation provides people with less environmental stress and therefore a better health status. However, over time, in the Postclassic period, the health conditions deteriorated among both coastal and inland inhabitants, according to the hierarchization of the society, militarization, and commercial activities of all the coastal sites. The sample was drawn from 19 sites (196 individuals of both sexes) from the east coast of the Yucatan Peninsula, as well as from inland localities within the boundaries of Quintana Roo. Both dental and osteological stress indicators were analyzed, and crosstabs were applied for absolute and relative frequencies and their corresponding χ(2) and F Fisher analyses. The osteopathological index of the coastal and inland sites of the Classic period were compared over time between the Classic coastal inhabitants and the Postclassic coastal inhabitants so as to understand how life conditions changed over time. The Mantel-Haenszel odds ratio, with the crosstabs controlling for sex (males and females), was also carried out. There are low frequencies of dental pathologies and anemia present in both the coastal and inland populations of Quintana Roo in the Classic and Postclassic times. Only the presence of periostitis is highly common in both types of site, and this is the only indicator with significant differences. The dental pathologies, anemia and periostitis, in general, present a slight upward trend in both the coastal and inland populations over time. The coastal populations have fewer frequencies of the above than the inland sites whilst, in the Postclassic period, both the coastal and inland sites register increased frequencies of all the indicators. Linear enamel hypoplasia (LEH) is the only indicator that does not follow this tendency. The analyzed indicators are in accord with the general tendency reported in the literature. The results revealed a general trend whereby the Classic inland sites display poorer life conditions than the Classic coastal sites. In the Postclassic period, this pattern changed because the frequencies of all stress indicators increased. The explanations regarding this tendency are related to the differential access to food resources between regions; coastal people had a varied diet and better sources of protein, taking into account the culture of alimentation, the type, and the sources (in general, fish) that have an important impact on the absorption of micronutrients and therefore greater impact on local health conditions. Also, it is plausible that they were able to access imported food through commerce (such as meat and vegetables/corn). The decline in health of the coastal people in the Postclassic period was probably associated with social stratification, increasing militarism, changes in the economic corpus, new pathogens, and the decline of the power structures prevailing throughout the Classic period.

Arbitrary style transfer aims to reproduce the target image with the artistic or photo-realistic styles provided. Even though existing approaches can successfully transfer style information, arbitrary style transfer still faces many challenges, such as the content leak issue. Specifically, the embedding of artistic style can lead to content changes. In this paper, we solve the content leak problem from the perspective of image restoration. In particular, an iterative architecture is proposed to achieve the Restorable Arbitrary Style Transfer (RAST), which can realize transmission of both content and style information through multi-restorations. We control the content-style balance in stylized images by the accuracy of image restoration. In order to ensure effectiveness of the proposed RAST architecture, we design two novel loss functions: multi-restoration loss and style difference loss. In addition, we propose a new quantitative evaluation method to measure content preservation performance and style embedding performance. Comprehensive experiments comparing with state-of-the-art methods demonstrate that our proposed architecture can produce stylized images with superior performance on content preservation and style embedding.