Zeitschriftenartikel zum Thema „Music fairy-tale“

The music of the spectralist composer Claude Vivier is often considered through the lens of autobiography. However, from his abandonment as an infant to the circumstances of his murder at the age of thirty-four, certain aspects of Vivier’s life also seem to resist any straightforwardly autobiographical account. Borrowing the concept of “autothanatography” from Jacques Derrida and others, this essay explores how Vivier’s works inscribe a relationship to death, to the end and impossibility of autobiography, into its very origin. I argue that such an inscription occurs prominently in Vivier’s musical and dramatic portrayals of childhood, particularly those in Kopernikus: Opéra—Rituel de mort and Lonely Child. Drawing on Kathryn Bond Stockton’s writing on queer childhood and Lee Edelman’s early essay on homographesis, I further argue that this displacement of the autobiographical in Vivier’s works is also marked by his sexuality, or, more precisely, by its spectral repercussions.

Abstract The paper concentrates on the problem of developing imagination understood as human trait and virtue. To realize the challenge educators have to face huge difficulties as a tendency to flatter the world and its inhabitants dominates and becomes more and more powerful. A musical fairy tale is presented as a valuable and effective school practice. From one side it refers to perennial human custom of listening, telling, and creating stories, fables, and sagas. They may base on real life or refer to imaginary situations. Thus creation may have various realizations, depending on personal knowledge, skills, life experience, cognitive horizon, individual interests and virtues. From the other side the idea of the fairy tale shown in the paper refers to the music and its uncountable possibilities of describing the world. Everything depends only on one’s imagination. The last part of the paper presents the effects of students’ work on musical fairy tales. Those students apart of being instrumentalists and vocalists of the Music Academy of Lodz, Poland plan to become music teachers in compulsory general education.

This study is primarily concerned with the background to "DerKreidekreis", Zemlinsky's setting of a Chinese drama by Alfred Henschke (pen name 'Klabund', 1890-1928). This was the last of Zemlinsky's stage works to be performed during his lifetime. Indeed, it was the last to be performed anywhere (apart from a solitary production at Nuremberg in 1955) until the slow revival of interest in his music. In terms of scholarship, Horst Weber's monograph, published in 1974, was the first landmark in this process, as well as the first-ever biography and academic study of Zemlinsky in any language. Unlike Schreker, who benefitedfrom three biographies by the time he was 43, Zemlinsky was given only a special issue of the Prague music journal Auftakt for his fiftieth birthday in 1921. A year later the Universal Edition house journal Ausbruch published three short tributes to Zemlinsky as composer (by Franz Werfel) as conductor (by Heinrich Jalowetz) and as teacher (by Erich Korngold) - certainly a distinguished trio. But the general accounts of contemporary music of the time, such as those by Rudolf Louis, Oscar Bie, H. J. Moser and Adolf Weissmann either refer fleetingly to Zemlinsky or ignore him altogether.

This article opens by questioning the validity of making a close therapeutic relationship within an institution. In attempting to resolve this dilemma, it then looks at the function and nature of fairytale as a way of describing music therapy. Two analogies are used: one emphasising the facing of inner problems and conflicts, the other emphasising escape from the problems of the outer world. In conclusion, it looks at fairy tale endings in order to pose a solution for the opening question.

Abstract Richard Wagner's Siegfried constitutes something of an anomaly within the Ring cycle: the epic narrative of the Nibelungs and Valsungs grinds to a virtual halt, while two characters, Mime and Siegfried, reenact the fairy tale of the ““youth who went forth to learn what fear is.”” The fairy tale's mythic framework nevertheless reasserts itself within the fairytale enclosure in the guise of sexuality, in particular sexual difference: As Siegfried begins asking troubling questions about his paternity, Mime is thrust into the role of unitary origin, culminating in his desperate claim that he is Siegfried's ““father and mother.”” This article explores how exactly Wagner stages the tug of war between Siegfried and Mime over sexual difference, in particular in act I of Siegfried, allying different ways of conceiving descent, knowledge, and love with either the epic or the anti-epic (which Wagner associates with the fairy tale). This turns the generic struggle at the heart of Siegfried into a struggle between two kinds of families laying claim to Siegfried's paternity: the Gods of Valhalla who reproduce sexually, and the Nibelungs who are capable only of asexual reproduction of the self-same. This article argues that Wagner draws on his own speculations on sexuality, race, and history, in particular his idiosyncratic reading of Schopenhauer, to overlay this opposition not only with moral significations, but racial ones as well.

East German music educators developed new children’s operas on the model of Brechtian Lehrstücke to teach critical, “dialectical” thinking, a skill they considered essential for young socialists. This essay examines how the operas offered an alternative political education to the GDR’s official program of state-loyal patriotism and explores the conflicts that arose when Brecht’s theories of gestus and estrangement came into contact with the fairy tale tradition long thought to be the center of German children’s culture.

The author compares the original story of Cinderella with the modern fairy tale created by the news media in covering the Apollo Program. This comparison builds the basis for the design of Cinderella Lunar Mission, a pseudo-lunar mission consisting, variously, of an installation, fake news reports, a lunar mission network game and real-world action 〈 www.cinderellalunarmission.com 〉. Inspired by Cinderella's glass slipper, the exclusive sign of her identity, Cinderella Lunar Mission examines the idea of shifting identity and ways of fabricating new fairy tales using such digital technologies as programmatic text, network games and barcode identification.

Problem statement. Among Kharkiv composers, one of the significant places is occupied by Igor Kovach (1924–2003), a representative of the Kharkiv School of composers and Ukrainian musical culture of the 20th century. His works include music and stage, orchestra, concert, song, choral and literary-musical compositions, music for theatre performances, music for films and TV films. The creative legacy of Igor Kostyantynovych Kovach has a close connection with the children’s audience; it includes both instrumental music for young performers and theatrical music, where children from performers become listener, among them the fairy-tale ballets “The Northern Tale” and “Bambi”. The children’s music by I. K. Kovach did not receive proper consideration except for short newspaper essays and magazine notes, M. Bevz’s (2007) article devoted to children’s piano music. Thus, the problem of holistic study of children’s stage music by Igor Kovach still remains open. Objectives. The present article is devoted to the identification of musicalthematic, timbre-texture, genre-stylistic features, with the help of which the multifaceted figurative world of the ballet “Bambi” is embodied. The aim and the tasks of this research – to reveal the specifics of the figurative world of the fairytale ballet “Bambi” and to identify the musical means by which it is embodied. The role of the orchestra is established, the means of thematic characteristics of the characters are traced, and the peculiarities of the musical language stipulated by the requirements of the chosen genre are noted. Methodology. To achieve the aim we have used special scientific methods: genre, stylistic, intonation-dramaturgical and compositional ones. The presentation of the main material. The music for the fairy-tale ballet “Bambi” belongs to two authors: Igor Kovach and his son Yuri. The new features inherent in the sound palette are manifested in the instrumentation, where along with the usual composition of a modern symphony orchestra there are saxophones, rhythm- and bass-guitars, drums, which due to their timbres bring a sharp taste of emotional and behavioural looseness. Introducing the qualities of non-academic tradition into the academic orchestra, the authors, on the one hand, use them according to their origin, on the other – turn them into an organic part of the symphonic score. By making a “concession” to pop music, simplifying harmonious language, freeing it from the extreme manifestations of expanded tonality, bringing it closer, on the one hand, to classical-romantic, on the other – to jazz, Igor Kovach showed his inherent sense of modernity, “address quality” of creativity. Conclusions. Thus, the fabulous multifaceted world of “Bambi” is revealed in the ballet owing to the bright thinking and language of the composer. The action of the ballet takes place against the background of bright genre sketches, which are as if immersed in the very density of life. This impression arises due to the dynamics of rhythms, colourful orchestration, and a variety of styles, addressed to the sound world of today. Generalized intonations of academic art organically coexist with the turns of song quality of different origins, dance quality, march quality, jazz improvisations, which was facilitated by the co-authorship with Yuri Kovach.

The article focuses on the way in which music videos can subvert and refigure the message of literature and film. The author sets out to demonstrate how a music video entitled “Зацепила” by Arthur Pirozkhov (Aleksandr Revva) enters a dialogue with the recent Disney version of Cinderella by Kenneth Branagh (2015), which, in turn, is an attempt to do justice to Perrault’s famous fairy tale. Starting out with Michèle Le Dœuff’s comment on the limitations imposed upon women’s intellectual freedom throughout the centuries, Filipczak applies the French philosopher’s concept of “regulatory myth” to illustrate the impact of fairy tales and their Disney versions on the contemporary construction of femininity. In her analysis of Branagh’s film Filipczak contends that its female protagonist is haunted by the spectre of the Victorian angel in the house which has come back with a vengeance in contemporary times despite Virginia Woolf’s and her followers’ attempts to annihilate it. Paradoxically, the music video, which is still marginalized in academia on account of its popular status, often offers a liberating deconstruction of regulatory myths. In the case in question, it allows the viewers to realize how their intellectual horizon is limited by the very stereotypes that inform the structure of Perrault’s Cinderella. This makes viewers see popular culture in a different light and appreciate the explosive power of music videos which can combine an artistic message with a perceptive commentary on stereotypes masked by seductive glamour.

Drawing on my 2016 ethnographic research on women in New York’s extreme metal music scene, this short article discusses the emerging concept of vigilante feminism; a term first coined by American Studies professor Laura D’Amore in her 2017 study, Vigilante Feminism: Revising Trauma, Abduction, and Assault in American Fairy Tale Revisions. Through interviews with the death metal band Castrator, the role of the female musician and fan in the extreme metal music (EMM) scene is explored. Using the lens of vigilante feminism as a form of musical protest, I analyse lyrical content, performativity and the ways in which female musicians navigate the traditionally masculine-coded subculture. I argue that for some female death metal musicians, vigilante feminism acts as a form of empowerment which enables them to coexist in a liminal space so often dominated by their male counterparts.

Karl Goldmark (1830–1915) was undoubtedly one the most influential composers of the Austro-Hungarian Empire, and through his first opera – The Queen of Sheba – he was also very well-known abroad. This opera, with its very fashionable oriental subject, was first performed in Vienna in 1875 and was one of the greatest successes of the period. After Merlin (1886) and The Cricket on the Hearth (1896), a “song-opera” strongly influenced by the Biedermeier-period, Goldmark wrote three operas over the next ten years. A Prisoner of War (libretto E. Schlicht, premiered in 1899 in Vienna) was based on one episode of the Iliad. In this short opera the composer tried to express the change of Achilles’ soul, but he mostly failed due to a relatively weak and conventional libretto and vague musical style. In the following opera, Götz von Berlichingen (libretto A. M. Willner, premiered 1902) the libretto is also the weakest element of the work and the whole opera reminds one of Meyerbeer ’s operas. The composer found a renewed inspiration during the work on his last opera – The Winter’s Tale (libretto by Alfred Maria Willner after Shakespeare, premiered in 1907 in Vienna). This fairy tale opera is full of interesting musical moments and elements written in Goldmark’s late style and is still attractive for the opera-going public.

The article discusses some aspects of the reception of Oscar Wilde’s fairy tale The Selfish Giant by the Russian symbolist poet and translator Ellis (L.L. Kobylinsky; 1879–1947) as reflected in archival sources and memoirs of his contemporaries. Particularly, Ellis’ participation in theatre performances for children and his interest in the forms of juvenile literature are considered within the framework of his overall poetical activities. Among these plays, a piece entitled The Garden of the Giant which is based on Wilde’s tale The Selfish Giant is to be mentioned first and foremost, since Ellis himself attributed great importance to this work making several attempts to publish it separately and even trying to convince a Moscow modernist publishing house Musaget to implement his rather extraordinary plans. The article also attempts to demonstrate that Ellis’ passion for Wilde’s literary heritage can be traced in his own subsequent work as his second collection of verse Argo (1914) proves it. As, I argue, its first section entitled Snuffbox with Music has been developed under the influence of Ellis’ previous work on juvenile performances, which manifests itself in dedications, the texts of the section borrowed from the juvenile plays as well as through the motivic structure of this cycle.

The article considers the problem of lack of empathy and responsiveness to peers in children with autism spectrum disorders. The difficulties in the formation of social interaction in primary school children with autism spectrum disorders are the subject of discussion of special pedagogics and psychology. The article describes the experience of using art therapy methods in order to form a sense of responsiveness to peers in junior students with autism spectrum disorders. The authors give recommendations on the application of picture therapy, music therapy, play therapy and fairy tale therapy in extracurricular activities. Comparative results of the primary and repeated diagnostics of the formation of interaction skills of primary schoolchildren with ASD allow us to speak about the effectiveness of the described methods of psycho-correctional work.

Beckett's 1976 poem ‘Roundelay’ is sung as a Prologue to Kurtág's opera, Samuel Beckett: Fin de partie – scènes et monologues, opéra en un acte, which was premiered at La Scala, Milan, on 15 November 2018. As an opening gesture it recalls Duke Bluebeard's Castle, in which a spoken Prologue enigmatically conjures a world of fairy-tale that simultaneously reveals a psycho-drama (where is the stage? outside or inside?). ‘Roundelay’ is yet more enigmatic but similarly prescient: we are entering a time-space in which the sound of words is as important as their meaning, and where lonely characters attempt to cope with their sense of imminent end, mysteriously near and yet also bafflingly unreachable. The voice itself is also prophetic, sung as it is by the opera's only female character, Nell, who in Pierre Audi's production is only partly visible, illuminated as if a ghost in a spot of light amid the darkness, hovering well above the stage. There is a normatively bleak perspective on gender at play throughout: Nell's other-worldliness and incongruous melodiousness here anticipate her barely acknowledged death and the consequent obliteration of love.

In Béla Bartók’s ballet The Wooden Prince, the idea of a’ work within the work’ is a multiple one: the wooden puppet as a means used by the Prince to attract the Princess’s attention; the puppet as a work of art; and the ballet itself as the composer’s’ calling card’ promising future major achievements. At the same time, the ballet represents a sort of compositional statement about and rationale for Bartók’s aesthetic conception based on a Künstlermärchen or’ artist’s fairy tale,’ a German concept that refers to the literary genre Künstlerroman. Does the ballet thereby play the role of a’ key work’ within Bartók’s oeuvre? Bartók’s composition can be understood as an expression of the dialectic process between’ progressive’ and’ regressive’ forces in musical modernism after 1900. His difficulty with the tension between regress and progress — apart from his facing performance issues related to the genre, which was new to him while at the same time striving to find a compositional style appropriate to his ideas — is reflected in substantial cuts, partial revocations and changes during the process of creating and revising the ballet.

Summary It is a well-known fact among Lithuanian scholars of studies on Mikalojus Konstantinas Čiurlionis (1875–1911) that Igor Stravinsky (1882–1971) once owned Čiurlionis’ painting Black Sun (or Ballad). However, it is known only by a reproduction printed in a Russian art magazine Аполлон [Apollon]1, with a title Conte fantastique and Сказка [Fairy Tale] and Stravinsky was specified as an owner of the painting and other details have not been well-researched. Even though some researchers visited St. Petersburg to find the painting several years ago, yet no trace was ever found. In this article, first we would like to look back at Čiurlionis’ visits to St. Petersburg and then, reveal new facts on concerts in which Čiurlionis’ music was performed and more over concerning Čiurlionis’ painting Black Sun how Stravinsky became interested in the painting by introducing letters exchanged between Stravinsky, Alexandre Benois and Andrey Rimsky-Korsakov.

The article investigates health saving technologies at a pedagogical university, theirs types and classifications, psychological and pedagogical aspects of application in education. It has proved that health saving technologies formed special knowledge, skills, skills to maintain and strengthen health, the formation of an individual healthy way of life, should provide the basis for independent attempts to improve himself / herself, his /her body, psyche, emotions. Introduced the fact that the purpose of the article was the scientific and theoretical substantiation of health saving educational technologies students studies at a pedagogical university, special attention was paid to color therapy, music therapy, fairy tale therapy, laugh therapy, etc. Analytical, diagnostic, experimental and systematic methods were used. The problem of the development, implementation and use in pedagogical activities of health saving educational technologies by students of pedagogical universities is a priority, because future teachers must ensure the intellectual, moral volitional, aesthetic, physical, emotional and moral development of the personality of the person.

This academic paper is devoted to the analysis of a specific feature which could be found in K. Balmont’s translation of A. Tennyson’s poem «The Lady of Shalott». The aim of the work is to study the reasons why Balmont uses the word «волшебница» to describe the heroine in his translation while there is no word with such semantics in the original text. (This word is put in the name of the translated work and it is found in almost every stanza).English analogue of the word «volshebnitsa» (that is, the word «enchantress», which, according to the Oxford English Dictionary, is closest to this word in semantics), while in the original text of the poem this word is not mentioned, the neutral word «lady» is used andonce (in the speech of the mower who hears the heroine singing, but does not see her) there is the word «fairy». This article, on the one hand, summarizes existing studies on the topic; on the other hand, complements them. The study highlights and considers several reasons for the above-mentioned discrepancy between the original text and its translation: emphasizing the connection with a fairy tale, revealing a number of motifs which play an important role in the work of Balmont himself (namely, motifs of music and creativity as magic) and an indication of the main heroine’s charming beauty.

"Semiotics of The Right To Dream: Mythical Dimensions of Time From The Romanian Fantastic Fairy Tale A fundamental concept of human existence as a species, Time has always been a defining landmark of the depth of thought of homo sapiens. With religious or scientific character, the ensemble of myths, beliefs, ideas, ideologies, representations and significances given to this concept led, …in time, to the birth of a rich, distinct and complex symbolic imaginary. Both a physical continuum (space-time in which biological, chemical, physical and mechanical processes occur that cause changes in Nature) and a philosophical one (events are perceived and cognitively systematized by man from the past to present towards future), Time it has always aroused peoples interest. We have deities of Time (Cronus, Zurvan, Maku). We have, also, the characteristic concepts that mark the fictional-mythical transfiguration and the triumph of the irreducible search for the truth of meaning. Such as the promise of a (possible) paradisiacal land of eternity, such as the Aion concept of the ancient Greeks (in the sense of cyclical time/eternity), or the existence of specialized divine beings (Moirs of ancient Greece, Roman Parce or Scandinavian Norns) who measure the profane time (past, present, future), and relates it to the celestial, relativistic, perpetual-eternal time. From the area of pure philosophy who approache the subject, inevitably passing through the field of quantum physics that tries to define as precisely as possible the notion of Time (definition, dimensions, units of measurement etc.), we have approaches to this concept at the level of music, literature, art. An true illud tempus, moving the content from metaphysics to myth, and viceversa, there are the many reflections of famous people about the concept of time. Approaching topics about the existence of ,,fashionable” references (billionaires, famous or just controversial politicians, footballers, actors, etc.), we have a post-modern mythological imaginary offered daily by Time Magazine, The New York Times, The Sunday Times etc. As well, being an important landmark in the editing policy, we have a font agreed by more and more magazines, periodicals, publishing houses - Times New Roman. The social life of the traditional Romanian communities, who generates and consumes fantastic fairy tales, tried to reconcile the human activities with the constant phenomena of the environment (terrestrial, cosmic). Starting from certain constants that counted human activity with the cosmic and terrestrial rhythms of Nature (day-night succession; the succession of seasons; the rhythmicity of some manifestations of the vegetal and animal kingdom), the calendars had appeared lunar, solar, solar-lunar, popular, Christian, civil). Their existence and use made that the passage of time to be more easily perceived and memorized. The calendar practices and habits, performed in a predetermined time and in a certain way (= ritual), did nothing but mark in the traditional symbolic thinking the specificity of that human time, to perform in that tradition, in Cosmic Time, trans-human time. This study deal with the valorizations and symbolism given to this concept by the popular imagination from Romanian fantastic fairy tale. The collections of fairy tales offered me some major directions that defines Time, sometimes the traditional imagination being a subtle game of physical constants and mythical-epic variations. Thus, I discovered metaphysical dimensions of time, the reason for linking Time, an optimal time of action, but also the exercise of distance (Time-Space) to be traveled by the hero or realms of eternity, where Time does not even exist as an abstraction… Everything followed, naturally, by a series of conclusions. Keywords: imaginary, phenomenology, hermeneutics, Romanian fairytale, Time "

The mythic quality of Kate Chopin‟s The Awakening (1899) derives from recurrent images of archetypal symbols such as sea, sun, and journey, accompanied by up/down motif representing death and rebirth. Having been decanonized for infringing the traditional codes of marriage and motherhood, Chopin‟s work, this study proves, violates yet another convention, that of the mythological theorists, namely Joseph Campbell‟s. Being a female principle as opposed to Campbell‟s macho hero, Chopin‟s protagonist, Edna undergoes the same archetypal pattern of quest, initiation, and descent into the underworld. In her archetypal passage from innocence to experience, however, and through rebellious acts of self-expression, viz. painting, music, gambling, and extra-marital relationships, the heroine not only ceases serving the interest of the society which has reduced her to the position of an object to be possessed by husband or devoured by children but also challenges its core values, overturning the fairy tale of “the angel in the house.” And while having inherited the narcissistic characteristic of the conventional hero, Edna turns more into the heroine of the self than of the community, who in ultimate defiance of the romantic ideal of ever-victorious heroes chooses not to ascend from the underworld but to abort the last phase of the heroic mission and, thus, differentiates Chopin‟s modernist representation of the realistic heroine from the idealistic portrayals of the male hero in the mythological canon.

The paper presents the results of empirical study of parents' attitudes towards their children with special educational needs. The following methods have been used: PARI method (E. Schaefer, R. Bell; adaptation by T. Nescheret), test-questionnaire of parental attitude of A. Varga and V. Stolin; questionnaire 'Analysis of family myth' by A. Nesterova. To clarify and deepen the analysis of research data, two samples of selected participants have been created: a) parents of children with special educational needs and b) parents of children without special educational needs. Two Google forms have been made with appropriate introductory questionnaires and research instructions. The analysis of the results obtained by the methods has revealed the following tendencies in the attitude of parents of children with special educational needs, in comparison with parents of other children: lower level of acceptance; greater concentration on the child and his/her control; a kind of inconsistency in the attitude to their children (simultaneous optimal emotional contact and excessive emotional distance); a sense of self-sacrifice and belief in its necessity. It has been proved, that the usage of different types and forms of art therapy (music, dance-movement, bibliotherapy, fairy tale therapy, phototherapy, film therapy, fine art therapy) helps to correct parents' attitude to their children with special educational needs. In addition, a number of recommendations for the use of art therapy to work with parents of children with special educational needs has been proposed.

Background. The modern science reconsiders various conceptions, which were influencing the theory and practice of musical art over the centuries. Particularly, there is much talk today about the fact that marking of female opera roles as “coloratura” according to the principle of their technical complexity and diapason wideness is quite nominal and not connected directly with singing voices’ gradation. Gradually entrenched tendency of denial of the female voice’s definition as “coloratura” has developed, and it is based on the argument that this characteristic reflects parameters of composer’s objectives rather than the voice’s nature. Probably, that’s why there are works in repertoire of certain female vocalists (for instance, Maria Callas and contemporary Canadian singer Natalie Choquette), which are usually performed by owners of “different” voices. However one cannot deny the fact that certain opera roles are composed specifically for coloratura soprano, despite the fact that indications of it are missing in manuscripts. N. Rimsky-Korsakov’s opera heritage is exponential in this connection; the destination of particular female roles for coloratura soprano is unquestionable – Snow Maiden, Marfa, Volkhova, Tsaritsa of Shemakha, etc. And though this roles are performed by female vocalists of various voices in today’s theatrical practice, it seems to us that voice’s characteristics have principal significant for appropriate implementation of author’s conception. Objectives. Thus, the purpose of the study is to identify the significance of the voice’s particularity factor as a carrier of a certain imagery in the composer’s conception and in the performer embodiments of opera parts (separated opera arias). Methods. The methodological basis of the study is the unity of scientific approaches, among which the most important is a functional one, associated with the analysis of the genre as a typical structure. Results. The Gogol’s plot became the basis of several operas, the most famous of which are “Cherevichki” (“The Little Shoes”) by P. Tchaikovsky and “Noch’ pered Rozhdestvom” (“Christmas Eve”) by N. Rimsky Korsakov. The comparison of this two works clearly shows the fundamental difference in composers’ conceptions. In P. Tchaikovsky’s interpretation the lyrical line is extracted from the literary primary source. But for N. Rimsky Korsakov the comparison of the real and fantastic world becomes the main thing in this opera. Therefore the role of Vakula is written quite schematically, but Oksana’s image is interesting developed, it is presented in progress – from carefree girl to loving woman. This progress is obvious when comparing Oksana’s Arias from Act I and Act IV. The Aria from Act I is a peculiar synthesis of national and Italian singing traditions, a prime example of entrance aria (di sortita), which presents the character’s portrayal and comprises such basic components as slow introduction and episodes demonstrating technical possibilities of the voice. Oriental intonations, which are specific for composer’s vocal works, coupled with coloraturas, give the impression that Oksana is “not from this world”. According to lots of researchers, the whole N. Rimsky Korsakov’s opera “metacycle” is an artistic integrity united by a generic idea that defined the unity of approach to implementing of “type” (including female) characters. The intonational canvas of every particular role (the choice of so-called intonational complexes – “a cold” or “a warm”) is determined by character’s affiliation with natural or fairy-tale locus. Oksana’s portrayal for N. Rimsky Korsakov has been ambivalent. On the one hand, she doesn’t relate to “another world” like Snow Maiden or Volkhova; on the other hand – Oksana is a fairy-tale character. Therefore composer uses partly the same strokes in the development of the portrayal as for female fairy-tale characters. However, the formation of this character’s personality is revealed through the transformation of “cold” (fairy-tail) intonational complex to “warm” (“alive”). Two performances of the first Oksana’s Aria are briefly reviewed as an example: the concert performance by Gohar Gasparyan, an Armenian lyrical coloratura soprano (1924–2007), and a recording from the Inessa Prosalovskaya’s CD “Arias from operas”, the Russian lyrical dramatic soprano (born in 1947). G. Gasparyan’s idea was to present the portrayal of a young girl of the people. Therefore the singer levels virtuosic components of music material as much as possible, and a coloring of her voice, for which it was easy to sing the second A sharp above middle C, emphasizes lyrical hints of Oksana’s Aria. Also the significant textual cuts becomes one of important parameters of creation of a “gentle” young girl’s portrayal; they not only transform the expanded aria into the form, which is close to a song in scale, but also significantly reduce specifically those snippets, in which technical difficulties are concentrated. Version by I. Prosalovskaya presents another interpretation, original sound of which is largely due to the singer’s timbre of voice. Its deepness, expressivity and completion absolutely modify personal characteristics of the N. Rimsky-Korsakov’s character. Therefore we observe not a young girl already, but a woman – passionate and confident. Thus, it could be concluded that timbre color’s specificity of the voice of female opera singer has a significant impact on features of the character that she embodies. It is obvious that this specificity determines all the parameters of the performer’s version of the composer’s work (both a separate aria and the opera as a whole). A more detailed study of the relationship between the voice timbre and the semantic and compositional decisions characterizing an individual performer style seems to us a promising direction for further research.

The article emphasizes the fact that the problem of providing effective pedagogical support for personal development of children with mental and physical disabilities occupies an important place in the educationa theory and practice of modern Ukraine. Among scientists there are different approaches to determining its content, purpose and objectives. Most researchers consider pedagogical support of children with special educational needs (SEN) assystematic actions and measuresaime datensuring positive results in the educational process. The main tasks of pedagogical support of children with psychophysical developmental disorders are to ensure their social adaptation and over come difficulties in communicating with peers; prevention of problems of personal development and upbringing of the child; providing assistance in solving current educational problems and socialization; implementation of psychological and pedagogical counseling for parents. The authorsempha size that art therapy is rightly considered to be an effective means of pedagogical influenceon children with SEN in an inclusive educational space. Art therapy as a method of diagnosis, change and resource development of an individual, group or team through the use of different art sand their own creative activities has a wide field of application in various areas of teaching. To achieve a positive result in the pedagogical support of children with SEN the following arttherapy means are used: drawing therapy, fairy-tale therapy, sand therapy, music therapy, photo therapy, color therapy, which can be integrated, completing each other. It is scientifically proven that theuse of different types of arts contributes to the development of a child’s emotional and communicative sphere, the establishment of interpersonal communication, taking into account emotional state of peers. During art therapy classes peculiarities of interpersonal communication are revealed, obstacles in its establishment are found and over come, and as a result the development of social-communicatives kills of children with SEN.

Progress of science and technique, newest technologies, created in the world not only new possibilities, and also and new difficulties. The alarm level considerably increased yet and through a world pandemic to the coronaviruses. Last days in society spreads an idea about importance of forming the personal psychical and emotional health, beginning from preschool age, as bases of becoming of personality, the most valuable achievement of that is emotional prosperity, are mortgaged exactly in childhood. The purpose of the article consists in describing the problem of forming the emotional firmness of preschool children by art-therapy and maintenance the psychical health of children as a major factor of personality development. Art is the unique type of human activity that represents reality in certainly-perceptible offenses, combining two opposite worlds: the world of fantasy and reality. The first mentions about facilities of the art-therapy treatment was found, possibly, in the days of existence of primitive man. It is important to emphasize that a main task to the art-therapy is not developing creative flairs, but achievement of therapeutic purpose. Analysing potential using of art-therapy in preschool establishments of education with the aim of forming of emotional stability for children, the special attention displaces on the variety of forms of the realization, such as: music-therapy, fairy-tale-therapy, puppet-therapy, painting-therapy, photo-therapy, physical-therapy, drama-therapy. Application of methods of therapy by an art on employments provides development of creative potential of children, enriches the emotional sphere of preschool children, deepens their world view, activates imagination and thinking of children. Art-therapy helps children to find and understand itself, successfully to adapt oneself new environment, be able to influence relationships with children, teachers, parents. Using art-therapy methods in an educational process assists forming of the personality all-round developed and emotionally stability. The prospects for further researches in this area we see in determining the most effective art-therapeutic technologies for individual development and forming sustainable emotional well-being of preschool children.

Background. The “melos” and “colourfulness” terms are used in various meanings both, in music and fine arts. The ambiguity of these concepts in our time of unlimited possibilities for creative experiment and bold search for new semantic levels, interest in establishing versatile inter-scientific relations allows us to apply innovative analytic methods to the works of art. Among these methods, intermedial inter-disciplinary researches seem to be extremely promising, especially when applied to such traditional, well-established forms of art as academic painting and music. The article uses the innovative method of intermedial research, which consists in attempts to trans-code the elements of the musical semiotic system into a pictorial one and vice versa. B. Asafyev (1987, р. 83) determined the “melos” in music as an abstract notion that unites all the forms of melody and the properties of melodiousness: the qualitative, expressive sides of all kinds of sound correlations as sequences in time. The consistent movement of sounds in a piece of music is called “a line” (for example, a “melodic line”) that gives the reason to see a certain parallel between music and painting. Accordingly, the concept of “melos” in music correlates with the concept of “linearity” (graphics) of a picture. The notion of “colourfulness” was first introduced in the fine arts. The colourfulness is a total of correlations of colour tones, hues, which create a certain unity and are an esthetic reflection of the colour diversity of reality (based on Bilodid, I., 1973, p. 232 and others). In musical science there is no well-established definition of this concept, however, we find such attempts: “Colourfulness [in original –’kolorit’ – translator’s note] (from the Latin ’color’) in music – is the predominant emotional colouring of one or another episode, which is achieved by using various registers, tones, harmonic and other expressive means” (FDSTAR. Electronic music. The site of composers, CJs and DJs). The adjoint concept “colouristics” is used, which is described as follows: “… colouristics – music of subtle and colorful sounds, in which all tones are distinguished (the beginning of the Etude in G sharp minor by Chopin, the scene of the transformation of fishes in the 4th Picture of “Sadko”, bell harmonies by M. P. Mussorgsky, S. V. Rachmaninoff)”(Maklygin, A., 1990, in Musical Encyclopedic Dictionary). The purpose of this article is an attempt to determine the correlation of melos and colourfulness in the musical and fine arts on the example of musical portraits and landscapes from the M. Mussorgsky’s “Pictures at an Exhibition” cycle. Research results. The “Pictures at an Exhibition” piano cycle is created under impression of works by Viktor Hartmann, the artist, architect, and designer. The content of the cycle is a vivid example of music and painting interrelation, therefore it gives an occasion to detailed intermedial analysis to understand the melos and colourfulness correlation in the musical pictures. So, the peculiarities of the melos in “The Gnome” are the quick broken zigzag lines, contains brief chromatic motifs, separated by pauses, grace notes and trills. A special role is given to syncopation, which imitate the Gnome’s limping gait. The texture of M. Mussorgsky’s piece – the octave movement in the party of the right and the left hands without a clearly defined accompaniment can be seen as a musical analogy to colourfulness of V. Hartmann’s sketch with its transparent background. Thus, in Mussorgsky’s play “The Gnome”, melos prevails over colourfulness that coincides with the ratio of melos / color in V. Hartmann’s sketch, since the artist gave preference to drawing creating this picture as monochrome one. “The Old Castle” is extremely colourful, as the composer deals great importance to modal, harmonic and textural factors. In general, it can be argued that the composer inherits the ratio of drawing and colouring in the painting by V. Hartmann, embodying the overall emotional and colourful palette of the picture with the help of tonality (“mysterious” G sharp minor) and texture (basso ostinato as an expression of the statics of the massive old building). Melos prevails over colourfulness and expresses the individuality of images in the “Samuel” Goldenberg and “Schmuÿle”, the musical portrait based on two paintings by V. Hartmann (“Poor Jew”, “Rich Jew in the Fur Hat”). The melodic (linear) component of the work is represented by two musical themes. The first is a characterization of a rich man, in which ascending intonations are used as a symbol of his high social status, by analogy with the proudly raised head and upward glance in the painting by V. Hartmann. The melodic theme of a poor Jew with a downward motion corresponds with the image of the poor man’s stooped figure. “Colour” of the musical portrait, as in the V. Hartmann’s painting, serves only as a background. In the piece “Catacombs. Roman Tomb”, the colorfulness prevails over the melos, The “gloomy” tonality (B minor) and the figurative textural techniques used by the composer (the sound of the melody against the background of tremolo octaves in high register, which can be compared with flickering lantern light in the darkness of the tomb, also juxtaposition of the fragments of the theme in different registers, creating contrasts of light and darkness), clearly reflect the overall colouring of the painting by V. Hartmann. In the musical portrait “The Hut on Hen’s Legs (Baba Yaga)” melos prevails over colorfulness, because it is with the help of melodic means that the portrait of a fairy-tale character is depicted, while the coloristic component of the music in this composition corresponds to the sketch of V. Hartman (where the clock in the house’s form depicted) only partially and plays the role of a landscape background (tremolo and triplets in accompaniment performing a coloristic function). “The Bogatyr (Great) Gates (In the Capital in Kiev)” is based on V. Hartmann’s the architectural and painting project of the city gate. Melos of the composition is presented by three contrasting themes. The graphic drawing of some fragments of these themes associatively correlates with the individual elements of the graphics of V. Hartmann’s picture (the peaked line of the passage in the right hand’s party, the tremolo-like figures). The colourfulness of the piece expresses in part by its texture and tone (E Flat Major, according to N. Rimsky Korsakov, the tone of “walls and cities”). In V. Hartmann’s painting, the drawing prevails over colour; however, M. Mussorgsky rethought the melody / colourful ratio in the piece. Melos conveys only some of the features of the drawing, its most important lines, while textural and coloristic musical means reproduce both, the linear side of the image and colouristics as such, that is, the colouristic component dominates. Conclusions. 1. The melos/colourfulness correlation in M. Mussorgsky’s cycle is regulated as follows: melos prevails over colouring in the pieces “The Gnome”, “Samuel” Goldenberg and “Schmuÿle, “The Hut on Hen’s Legs (Baba Yaga)”; colourfulness prevails over melos in “The Old Castle”, “Catacombs. Roman Tomb”, “The Bogatyr Gate in Kyiv”. 2. The melos / colourfulness correlation in the analyzed pieces from M. Mussorgsky’s cycle corresponds with the melos / colourfulness correlation in the respective V. Hartmann’s paintings. The musical portrait of Baba Yaga in “The Hut on Hen”s legs” is an exception: V. Hartman painted the stylized clock as an example of decorative and applied art, but M. Mussorgsky emphasized the reflection of the fairy-tale image; as well as “The Bogatyr Gate”, where colouristics and volume prevail over grafics and planeness of the architectural sketch. 3. The main expressive means of creating a portrait, as a rule, is the melody (melos), and the landscape – tonality, texture, timbre (colourfulness). The intermedial analysis of the above portraits and landscapes from M. Mussorgsky’s piano cycle confirms this concept.

Background. Operas for children-performers emerged almost two centuries ago. The first authors who began creative experiments in this field were amateur composers. In the second half of the 19th century opera for childrenperformers attracted the attention of music teachers who by education were often choir conductors. These authors created their works considering capabilities and needs of their students. The 20th century operas intended for children performance mainly were composed by professional composers, whose works have finally crystallized and sustained characteristic features of this genre. In the 21st century, professional composers are turning to the opera genre for children-performers as actively as their predecessors. At the same time, this area again attracts the attention of authors who are practitioners in choir conducting and are not composers by education but work closely with children groups and write operas based on practical experience with such choirs. The objective of this study is to introduce little-known operas by Ye. Karpenko and P. Stetsenko (both are choir conductors) for children-performers into the scientific discourse and to define their genre features. The methodological ground of the article is a complex approach that involves the following analytical methods: systemic, structural, comparative, historical. Research results. In 2006, Yevhen Karpenko created the opera “Sribna Divchynka” (“Silver Girl”; the libretto by Serhiy Diachenko after the fairy tale by Tamara Khvostenko). The work has the author’s genre designation “opera-fairy tale for children”, which specifies both, the target audience and the team of performers. There are four characters that have solo sayings. The opera features a personalized choir divided into groups, and the mimic character. The composition consists of two acts divided into completed separated numbers (8 in the first act and 7 in the second one). Between them are spoken scenes of varying length, which in this context perform a function similar to recitative in the traditional operatic model. The main form of solo, ensemble and choral expression in “Sribna Divchynka” is a song. The vocal parts do not fall outside of children voices diapason, except for the solo of Zirnytsa (the adult personage, the mother of Silver Girl) and completely correspond to their possibilities. The melody in the solo and in the ensemble-choral numbers is performed in unison allowing to absorb the material of the opera faster even for children without prior musical preparation. The piano part at “Silver Girl” is multi-functional; its level of complexity makes it possible to involve as accompanists even middle and high school students in music schools or studios. Yevhen Karpenko created the opera for children-performers, which organically combines established genre traits with modern genre and style techniques. “Sribna Divchynka” is the work of universal nature, because it can be performed by children without prior musical training, as well as by those who already have some musical and stage experience. “The Three Hermits” (2016; libretto by Tandy Martin based on the story by L. Tolstoy) by Paul Stetsenko reflects contemporary processes in the field of opera with moral and ethical coloring for children-performers. The author attributes the work to the genre of church opera. That affects both the nature of the drama collisions and the location of the action. The central part of the work retains all the main characters of the story. In Prologue, P. Stetsenko added the new personages: Teacher and the Children. The composer does not prescribe the timbre specialization of the protagonists giving freedom to choose within the available voices. The opera consists of six scenes, framed by Prologue and Finale (Stetsenko chooses a scene as a compositional and dramaturgical unit). The scenes are separated from each other in key and completed musically. Representing the heroes of the opera, the composer gravitates more to the dialogic scenes, where the plot develops, than to the solo statements. In “The Three Hermits”, the choir plays an important role. It is personified and participates in the action representing the Children in the Prologue, the Pilgrim in the main part and the Finale, and also functions as a commentator. The opera contains three leitmotifs: “motive of prayer”, “theme of the Bishop”, “motive of the waters”. The composition of the work has an arched construction that connects two spaces of action – the “real” one and the “parable” one. Stetsenko’s “The Three Hermits” proves that with the simplicity of the typological features of the opera genre for children-performers (relatively small length, piano accompaniment, the range of vocal parts that corresponds to the age of the performers) it is capable of embodying deep ideas, wisdom of a parable, stable characters, to involve children to the spiritual and religious experience of the past and eternal moral truths. Conclusions. Thanks to the practical experience of Ye. Karpenko and P. Stetsenko, their collaboration with real children’s groups (in particular, the Children Music Theater “Dzvinochok” in Sumy, Ukraine, and the choir of Westminster Presbyterian Church, Alexandria, Virginia, USA) operas created by them meet the capabilities and needs of young performers: parts have the appropriate for children’s voice range; the tunes are simple and easy to remember; the action develops dynamically, there are no stretched conversation scenes; there are a sufficient number of actors; the duration of the works is approximately 30–35 minutes. Thus, these two operas for children-performers are a clear result of the fruitful collaboration between children’s groups and choir conductors who have the composer vocation.

Background. As a notion, an opera theater led by a stage director has a strong presence in modern artistic practice, as it puts forward its own range of cognitive and evaluative tasks that undergo criticism. The fi rst task is related to compliance of the proposed rendition with the composer’s concept and music drama of a particular opera music piece. The second one is related to the director’s vision and understanding the peculiarities, which allows us to form an opinion about the comprehension degree of an author’s idea and the individuality of its implementation. The relevance of the designated semantic constants is reinforced by the variety of opera classics incarnation on famous opera stages. Objectives. The purpose of the article is to study and analyze the scenographic techniques that allow M. Marelli with his bright talent as a director to embody the opera plot and uncover incentive-psychological motifs that defi ne the deep content layer of G. Puccini’s “Turandot” opera. Methods. The study is based on a comparative method of analysis, with the help of which the validity of M. Marelli’s directorial concept by the dramatic concept and the semantic lines peculiarities of G. Puccini’s opera is revealed. Results. The stage performance of “Turandot” by G. Puccini on the famous opera stage of the Lake Constance was timed to coincide with the 70th anniversary of the Bregenz festival. For the implementation of this project, the Swiss stage director and designer Marco Arturo Marelli was invited for the fi rst time to organize it. The specifi c features of the huge stage forced all the natural conditions to be considered: wind, water, its level, and the weight of the theatrical scenery elements. Therefore, before creating the intended environment, M. Marelli built several preliminary models in search of the only solution that would combine the oriental fl avor and plot intrigue, hidden psychologism and bare emotions, intimacy and pompous mass scenes. The dramatic composition of the scenario, created by M. Marelli, makes it possible to tell how deep his comprehension of Puccini’s music is, as we observe its semantic components and the interaction of contrasting fi gurative lines, author’s remarks in the score, personal circumstances in the composer’s life, his letters, the conditions for creating an opera and a long search of ways to cut the knot of plot contradictions in the Finale part. The techniques he used reveal his artistic and aesthetic principles. This allowed him to create an organic fusion of intense musical and dramatic action, defused by ensemble, choral and dance scenes, visual effects that decode psychological subtext, and the theatrical scenery itself, which specifi es the exact place of events, complements the missing verbal commentary, allowing the stage area to look massive and versatile. As a result, the ideological concept of M. Marelli appears in the interdependence of the internal and external planes; their content is determined by his understanding and vision of the opera “here and now”, that is, as a single musical and theatrical piece. The internal plane is directly connected with the events of the fairy-tale plot, interpreted by the stage director’s individual consciousness. The external one forms the design of the performance through the variety of static and mobile forms, transformed according to the sequence of light effects, and the silent video by A. Kitzig, which gives a slight expressionistic taste. M. Marelli’s intellectual and emotional immersion in the “history” of the opera contributed to the formation of a symbolic by-plot through two fi gures: Puccini and Calaf (a character of the opera). It is played on a small platform at the bottom of the main stage, depicting the “blue room” (O. Schmitt), where you can see the instrument with the scores on the music stand, a table with a jewel-box on it, an armchair, and a bed. The man that appears clearly personifi es the composer, who “looks for” music ideas. As the events are unfolding, Calaf appears in the “room”; he is tormented by the desire to melt the cold heart of Turandot and feverishly looking for a way out of this situation. The novelty of interpreting a well-known fairy-tale plot lies in a fundamentally different motivation for the behavior of Turandot. She identifi es herself with Lou-Ling, who was tortured and murdered by a man long ago, so Turandot is driven by a thirst for revenge. The story about the cry of the miserable princess Turandot, which she constantly hears inside of her, looks differently as if she becomes one with her distant ancestor. By the end of the story, she appears as in a cocoon shell, unattainable and invincible. This is followed by a scene of puzzles that move events to a turning point in the plot twists and turns and mark a kind of a going-back fl ow of time. The director increases of effect of the symbolic line in the performance by adding the silent video by A. Kitzig. The parallel dynamics of the stage action and the metamorphosis of the masks visualizes the psychological component of Puccini’s opera. The whole set of plot and scenery means exists only with the purpose of revealing this psychological component. As a result, the scene of the test Calaf must pass acquires a different dimension, delineating the fate twists of both heroes. Again and again, the pieces of clothes fall down from Turandot like scales of a snake. This is accompanied by the transformation of the previously unfi red face of the mask, which ultimately cracks like a clay cast and fi nally collapses. The heroine remains in a thin silky dress shirt and tries to cover her bare shoulders with her hands. Her nakedness is akin to defenselessness, the loss of solid ground under your feet. This way, M. Marelli resolved not only the problem of the impossibility to show a psychological degeneration of personality on the huge stage by traditional acting techniques, but also contradictions of plot twists that haunted the composer. Conclusions. The experience of the Bregenz version shows that an important role played by the conditions of the stage space, which was used by a talented stage director and designer as a component of the multi-level system, where everything goes with accordance to the hierarchical subordination of the play. This seems to be the masterful combination of M. Marelli’s personal artistic and aesthetic philosophy, the features of the last opera by J. Puccini and all theatrical resources of a unique theatrical scene of the Lake Constance.

The importance of formation and development of creativity of primary school students is recognized by specialists in pedagogy and psychology. At the same time, one of the topical problems is the increase in the number of children with special educational needs. The purpose of the study is to regard the function of the aesthetic and imaginative perception of the world as a constituent of creative competence of primary school students in the context of a potential growth point for a child with specific learning disabilities. The subject of the study is the dynamics of indicators of creative competence (creative imagination, in particular) demonstrated by children as a result of mastering an integrated set of activities aimed to develop creative thinking in primary school students to be able to solve tasks, as well as to form creative competence, to improve self-expression and self-regulation through the use of tools of creative activities and to introduce children to works of culture and art in the conditions of inclusive education. At the stage of the ascertaining experiment, the creative imagination of children participating in the experiment was evaluated according to the methodologies of Dyachenko O. ("Drawing figures") and Kravtsova E. ("Where is its place?"). The general tendency, which is true for the results of the ascertaining experiment with the application of both methods, is the absence of children with a high level of imagination development in the group studied. Integrated lessons aimed to the formation and development of creative imagination in children with developmental delay were carried out for a year and a half, in inclusive groups. In the course of the complex work, the elements of art therapy, logopedic rhythm, psycho-gymnastics, fairy-tale therapy, dance movement therapy and music therapy were used, the means of theatricalization and dramatization were actively applied. According to the results of the ascertaining experiment, it is revealed that the subjects have the ability to overcome the stereotypes formed on the basis of the accumulated experience, which is one of the elements that determine the success of creative activity. As a result of the study, it was discovered that creative imagination regarded as a component of the creative competence of primary school students could be stimulated and improved with the help of a psychological-pedagogical influence during the application of the methodology of integrated lessons of the aesthetic course.

Viktor Vlasov is one of the brightest representatives of Ukrainian button accordion school, and his work is a special page in the musical culture of Ukraine and a significant component of the button accordion art for children. By his work V. Vlasov implements, new ideas and techniques of performing skills that rely on bright artistic images in the native children’s music, and also applies the means of composition techniques that appear in contemporary button accordion art and he pays attention to the latest unconventional methods of sound making. Due to this variety, V. Vlasov’s works have no only their main task – the education of children, but also it is a guideline for other composers. Music scholars, who study the work of Ukrainian composer-accordionist V. Vlasov, have the important task to give a proper assessment of work in general, and summarize the basic criteria of his approach to the formation of the system of young accordionist’s professional skills. Children’s music of button accordion of Ukrainian authors is a significant amount of works for young performers. Although the history of button accordion performance and pedagogy in comparison with other musical instruments is very short, it can be confirmed of the formation of certain schools of button accordion craftsmanship, including the author’s schools, one of which includes the original work of V. Vlasov. In Ukraine, the period of children’s music of button accordion development was synchronized with the formation of a professional button accordion music in general. Beginning from the second half of the twentieth century composers-accordionists made a huge contribution to the musical heritage, including for children. At the same time, information about this stage of musical culture is still poorly explored, the potential of the Ukrainian children’s music of button accordion is not sufficiently defined, the information about collections of plays for children and young people of Ukrainian composers is not generalized or systematized. Ukrainian music for children encompasses a multitude of individual composer styles (from V. Kosenko, M. Lysenko, I. Shamo to contemporary authors such as A. Gaidenko, V. Vlasov, P. Gubanov, O. Shmykov, B. Myronchuk and many others. V. Vlasov definitely can be considered composers with a brightly individually creative writing. All composer’s musical creativity is original and is closely connected with Ukrainian and world classics using authentic folklore, with an appeal to modern pop and jazz genres. He is the author of many works for button accordion which are as complicated, oriented on high level masters as works for beginners. V. Vlasov’s «Album for Children and Youth» has become an important achievement in the field of button accordion art. The cycle of V. Vlasov includes 45 different-colored music pieces; they are not connected with a plot-thematic line, because each music piece has its musical and artistic content. In addition, the music pieces are grouped into five notebooks in accordance with the general plan and a clear pedagogical task. In the first two notebooks of the album («Album of the first-graders», « At a visit to a fairy tale «), the world of a modern child is developed very clearly in the tradition of children’s album from such composers as R. Schumann and P. Chaikovsky to S. Prokofiev and B. Bartok. In the notebook «Folk tunes» which includes folk treats, V. Vlasov managed to cover folk leaks of different regions of Ukraine. The music pieces of the last notebook («Variety-jazz plays») are based on modern jazz language. Researchers more often pay attention to the listed notebooks. This article focuses on the central book of the album – «Chamber Plays». Three sonatas at the beginning of this notebook are perceived as a microcycle where the specificity of sonat thinking is consistently revealed and the artistic and technical tasks for the artist are gradually becoming more complex. The first music piece is a miniature «Sonatyna» of F-dur of early classical type, but even in the summary presentation the thematic contrast is already presented and the functional and logical side of the sonata form is implemented. The second «Sonatyna» D-dur meets the examples of Vienna classics – the thematic is based on the original contrast, there is already a motive comparison in a small development. The third «Sonatyna» C-dur is the most difficult task for performance; it relies on a complex of expressive means corresponding to the music of the 20th century – the toccata-basis of the themes, a complex harmonious language. Thus, three sonatas are a short «summary» of the genre for button accordionists at beginner level. The study of these sonatas is important for assimilating the most complex musical structure. The following music plieces are devoted to other genres, where the author focuses on the transformation of stylistic features. The romantic type of «Serenade» focused on J. Field’s nocturnes has such features as intricacy, expressiveness, sensuality and refinement and corresponds to the general lyrical character of the music piece. The greatest artistic complexity for button accordion performers in «Serenade» is precisely the embodiment of the character of a work that requires a certain level of student’s artistic development, an open emotionality. «Harpsichord» is a work that helps to restore the picture of the aristocratic salon of the times of Rococo, but at the same time it gives certain tasks for the young performer. V. Vlasov somewhat unusually interprets the distribution of textural functions in this musical piece: the part in the left hand imitates the sound of a harpsichord, creating a harmonic accompaniment, while the soloing art of the right hand reflects the timbre of flute or oboe; here the coordination of the hands of the button accordionist and the differentiation of the strokes are important. The last music piece of the book «Watercolour» seems more complicated in content, and more complex in texture development and performance tasks. In this musical creation of this genre of painting, the composer redefines the established notions about the art technique of watercolors and combines the traditions of musical Impressionism with the elements of the «plot», which is represented as a picture. The Viktor Vlasov work, one of the most prominent representatives of the Ukrainian Button accordion School, is a special page of the musical culture of Ukraine and an important component of children’s button accordion music. The most important achievement of the composer in the “Album for Children and Youth” is the systematic, consistent, professional justification of the whole set of musical and auditory ideas and professional skills that make this cycle can be a real school of button accordion craftsmanship.

The problem of teaching children of primary school age with the peculiarities of psychophysical development, who study in inclusive classes the article deals. The continuous development of pedagogical practice and the growth of the number of children with disabilities leads to the search for new more effective methods of work, new approaches to the organization of the educational process. The study is based on the use of Waldorf methodology – eurythmia, the main purpose of which is to develop a child's holistic perception of the world through the experience of its beauty, harmony, the formation of a positive attitude to themselves and other people, improving communication skills, harmonization of personality through a sense of joy, security and safety. Eurythmy is effectively used to improve the condition of children with different severity degrees of the disease and different levels of intellect. This subject is part of the school curriculum, as it «paves the way» for teaching other disciplines, and this, in turn, will form an integral system of school integration. A feature of the educational process organization in the first grade is that learners are engaged in eurythmia with music. They perform eurythmic special exercises for vowels and consonants with the teacher in the form of an accessible interesting play games. Training takes place on small poems and fairy-tale games, built on rhyme and rhythm. It is necessary to beat the rhythm of poems rhythmically, measuring its size in short and long steps. It was noted that the level of emotional stress in children is reduced. The exercises we use have a positive impact on the health, thinking, will, feelings of the child and contribute to the harmonious development of social skills, which in children with autism spectrum disorders are significantly impaired. The children learned to listen and understand the instruction of the teacher to perform the exercises immediately after the words of the master and without errors, quickly navigate in the concepts of «rightleft», «up and down»; «back and forth», to distinguish the quality of movement «loud-quiet, short-long steps; fastslow»; follow the steps on different surfaces of the foot; to recognize parts of the body to maintain balance while performing exercises on the bench and while driving on the forms to catch and throw the ball to move along defined trajectories independently and in a group. It is necessary to adhere to the systematic training and to form a positive emotional state in children and a steady interest in the lesson to obtain a successful result. It is necessary to combine the creation of an atmosphere of goodwill, assistance and mutual assistance and at the same timerequire clarity and correctness of the movements and exercises.

У статті проаналізовано джерела та історичні передумови розвитку національної народно-сценічної хореографії. Визначено етапи становлення й розвитку виконавської школи народно-сценічного танцю та балету в Україні, відповідно, проаналізовано зміст та форми народної хореографії, визначено місце і роль танцювального мистецтва у культурному надбанні українців.Визначено плеяду видатних балетмейстерів, які внесли значний вклад у розвиток та пропаганду хореографічного мистецтва. Зокрема, відзначається праця Б. Ніжинської «Рух і школа руху», в якій висвітлюються педагогічні й естетичні погляди авторки та її увага до використання характерного тан-цю у створених нею балетах «Дванадцята рапсодія» на музику Ф. Ліста та «Похоронний марш» на однойменну музику Ф. Шопена. Наголошено про збагачення танцю новими рухами та його поєднання з виразними засобами, якими є слово, музика, світло, танцювальні костюми, бутафорія тощо, за допо-могою яких більш виразно передаються складні почуття та певні життєві ситуації.Велику увагу приділено відстеженню джерел та шляхів становлення й розвитку системи підготов-ки танцюристів від танцювальних студій і шкіл до професійних навчальних закладів та їх засновни-ків: І. Іваницького, Д. Ширая, М. Піона, В. Верховинця, М. Мордкіна, Б. Ніжинської, О. Гаврилової, І. Чистякова.Акцентується увага на побудову та малюнок українських танців (під пісню, під музику, лінійні, геометричні, коло, вуж, ланцюг, лави тощо), їх тематичну направленість (сюжетні, побутові, релігійні, патріотичні, хороводні, національні тощо).Проаналізовано виділення театрального танцю з побутового та його перетворення на самостійний вид сценічного мистецтва – балет, а також подальший розвиток балету шляхом доповнення мораль-них проблем філософськими, казкових сюжетів реалістичними, наповнення національною тематикою балетних вистав.Підкреслено, що засади, на яких ґрунтувалася виконавська школа народно-сценічного танцю на початку ХХ ст., мали глибоке історичне коріння, зокрема, народна хореографія завжди була невід’єм-ною частиною культурного розвитку українського народу. The article аnalyzes the sources and historical prerequisites for the development of national folk-choreography. The stages of formation and development of the performing school of folk-dance and ballet in Ukraine are determined, the content and forms of folk choreography are analyzed accordingly, the place and role of dance art in the cultural heritage of Ukrainians are determined.A galaxy of outstanding balletmasters who have contributed significantly to the development and promotion of choreographic art has been identified. Particularly noteworthy is the work of B. Nijinsky’s Movement and the School of Movement, which highlights the pedagogical and aesthetic views of the author and her attention to the use of characteristic dance in her ballets. Emphasis is placed on enriching the dance with new movements and combining it with expressive means such as words, music, light, dance costumes, intercommunication, etc., which more clearly convey complex feelings and certain life situations.Much attention is paid to tracing the sources and ways of formation and development of the system of training dancers from dance studios and schools to vocational schools and their founders I. Ivanitsky, D. Shirai, M. Pion, V. Verhovynets, M. Mordkin, B. Nizhynsky, O. Gavrilova, I. Chistyakov.Attention is paid to the construction and drawing of Ukrainian dances, their thematic orientation (story, household, religious, patriotic, dance, national, etc.).The separation of theatrical dance from everyday life and its transformation into an independent form of the performing arts – ballet is analyzed, as well as the further development of ballet by supplementing moral problems with philosophical, fairy-tale subjects realistic, filling the national theme of the ballet performances of “Lily” by K. Dankevych. Svechnikov, “Sorochinsky Fair” by V. Gomolyak, “Shadows of Forgotten Ancestors” by V. Kireyko, “Dawn Lights” by L. Dychko, “Kamianar” by M. Skorik.It is emphasized that the foundations on which the performing school of folk-dance at the beginning of the twentieth century was based had deep historical roots, in particular folk choreography has always been an integral part of the cultural development of the Ukrainian people.

Background. Today in the minds of Ukrainians there is a process of reappraisal of values, which requires new approaches to the cultural education of citizens. At the current stage of the formation of the Ukrainian state, in front of its culture, in particular, children education, important and responsible educational tasks arise for the younger generation to develop a worldview focused on national ideals and traditions, preserved in folk songs, tales, in outstanding literary, musical works and other significant achievements of spiritual culture. That is why there is a need to study the children musical and dramatic heritage of the past – an inexhaustible treasury of cultural and educational ideas that in modern conditions can get their new life. The pearl in this treasury are the children plays by Olena Pchilka. The lack of research that fully and comprehensively covers the scientific and practical significance of children musical plays by the writer for the development of children theater in Ukraine determines the relevance of the chosen topic. Appeal to it seems very timely, given the growing popularity of the children musical genre today both in the world and in Ukrainian musical culture. The process of creative development of this genre is now one of the important problems of a modern professional theater for children. Olena Pchilka’s work has been studied by such scientists as D. Dontsov (1958), I. Denysiuk (1970), N. Kuprata (1998), H. Avrakhov (1999), L. Miroshnichenko (1999, 2014), L. Novakivska (2002), L. Drofan (1992, 2004), O. Mikula (2007, 2011), V. Shkola (2010), A. Zaitseva (2014), I. Shchukina (2015), O. Yablonska (2019) and others. In critical and scientific studies, innovative genre features of the writer’s work are identified, attention is focused on the specifics of his problematic and thematic range, the features of literary and aesthetic, sociopolitical, pedagogical views of the writer. However, there is still no work that would comprehensively reveal our chosen topic. The purpose of the article is to show Olena Pchilka’s contribution to the development of children musical theater in Ukraine on the basis of a study of the children’s musical and dramatic work of the writer. The research methodology is comprehensive. The work uses knowledge from various fields of art and related sciences: the history and theory of theater, the theory of music, music and theater psychology, vocal and theater pedagogy. Analytical method is applied for Olena Pchilka’s musical plays for children’s theater, which are the material of this study. Results of the study. Results of the study. An outstanding Ukrainian writer, translator, editor, teacher Olga Petrovna Dragomanova-Kosach (1849–1930) is known better under the nickname Olena Pchilka. Half of all her works are works for children and youth: poems, translations, tales, stories, plays. Olena Pchilka’s legacy in the field of children theater, in terms of his qualities – an active educational orientation, a benevolent understanding of the child’s inner world and its highly artistic reflection in word and music – is a unique cultural phenomenon. During her lifetime, only three of her twelve plays for children were published. However, every play was put on the school stage. The author herself usually directed performances. The writer’s awareness of musical folklore formed the foundation for the creation of children plays. The author interweaves melodies in the texts of plays (“Melodies for singing”, as Pchilka called it) as an organic component of the child’s very existence, they sound in a dance, game or some imaginary action of children, thereby “feeding” and directing the Grand vector of the stage action. There is the information that Olga Petrovna became the author of some songs. The writer outlined the creative directions of her future children theater: 1) dramatizations of a “suitable” literary work; 2) a children musical play; 3) an original dramatic work with a wide use of poems, fables, folk songs, ritual dances with singing, children games with toys, and the like. “Honor your native...”, “...it is good to know your own folk language, song...” – expressions from Olena Pchilka’s article “Work of upbringing” formulate the dominant of her creativity, pedagogy, social and scientific activities and, to a high degree, her children drama. Olena Pchilka considered the life and work of Taras Shevchenko one of the most influential sources of education of conscious Ukrainians. Therefore, in her children theater, the theme of his life and creativity is a leitmotif (the play “Spring morning of Taras” etc.). Olena Pchilka was convinced that the Ukrainian language, song and native nature are a necessary and irreplaceable environment for a child. Folk art and folk mythology reign in a number of her children plays. In one of them (“Dreamdreamy, or a Fairy tale of a Green Grove” – “Son-Mriya, Kazka Zelenogo Gayu”) we meet a Forest Mouse, a Cuckoo-a girl, a Nightingale-a boy, a Crow-a girl, a Sparrow-a boy, children-Quail, Forest Mermaid, Goblin (Lisovik), Field Mermaid. For this play the author introduced the row of various songs, from the song of field workers to lullaby. The play “Bezyazykiy” (“Without tongue”) touches on the theme of refugees, the psychology of the child, his behavior in the school team, and at the same time the ethical problems of teaching. The play also includes the songs. The operetta “Two Sorceresses” (1919) is the pinnacle of Olena Pchilka’s children drama. The writer repelled from folk melodies and poems; games, ceremonies, festivals; from children’s naturalness, clarity, rainbow imagination, playfulness, organically weaving into the fabric of their works their own verses and melodies to them. The play contains a variety of numbers: solo (“Singing of the Earth”, “Singing of Santa Claus” and others), choral (“Choir of boys and girls”, “Spring-Beauty is coming”, etc.), conversational and vocal scenes (“I’m Winter, Winter”, “Girl, Fish”, “We are the clear rays of the sun”, “Lala, bobo”, etc.). Another title of the work is “Winter and Spring”, so the names of the main characters who oppose each other are placed in the title. The presence of conversational and vocal scenes, folk games and dances, comedy episodes allows us to consider the play as the predecessor of the modern genre of “musical” for children. The festive theme continues in the one-act play “A Christmas tale”. The play traces the process of becoming a person as a person. A large amount of ethnographic musical material has been introduced into the artistic structure of the work. The writer meant the “Christmas fable” as a dramatic action. To “AChristmas Fable” the author has included Ukrainian folk songs: the Christmas Carol “New joy”, a Christmas caroling girls “Oh red, plentiful viburnum”, the dance song “Dance of the groom” (“Kozachok”), the refrain “At the house of Pan Semen” etc. In 1920, in Mogilev-Podolsk, Olga Petrovna Kosach, a teacher of Ukrainian language and literature, organized a children’s drama Studio at the Ivan Franko school, where almost all the plays of her “Ukrainian children theater” were staged: “Peace-Peace!” (Mir-Mirom), “Kiselik” and “Treasure” (“Skarb”). The play “MirMirom!” is based on the games of preschool children: the song “Go, go, rain”, the game for friendship “Peace-Peace!”, the song “My mother gave me a cow” and other. Among Olena Pchilka’s children plays, there are “tales” of Patriotic content. “Treasure” performance in one action, which also include the songs, is teaching for responsibility and patriotism. In her play “Out of captivity”, where the Ukrainian childhood during the October revolution shows, the children sing the choral “liberated singing” – the singing of the Ukrainian anthem. Conclusions. It is concluded that Olena Pchilka contributed to the creation of the foundations for the formation of children musical theater in Ukraine with her creative heritage and practical activities, developing a new literary genre of musical children play, which we can call the genre of musical in modern times. After all, Olena Pchilka’s plays, written in a form accessible to children, are examples of Patriotic and cultural education, full of music, singing, folk and household melodies, folk songs, carols, poems, games, dances, rituals, celebrations. This problem is poorly understood and requires further research.

Background. M. Gogol’s «Evenings on a Farm Near Dikanka» often attract the attention of theater directors. Thus, in June 2009, the premiere of the play «May night, or Moonlight Witchcraft» directed by Oksana Dmitrieva, took place at the Kharkov Puppet Theater. Trying to reveal the genre nature of the production, theater critics give it such definitions as a fairy tale, musical, fantasy, ethno-folk show, liturgy, mystery play, as well as analyze individual finds of a young director, but the complete picture of the artistic features of this performance is absent yet. In this regard, the purpose of the article is to identify the features of the interpretation of the Gogol story by director O. Dmitrieva. Results. The «May night...» begins with a musical introduction consisting of two themes: the lyrical theme of the pipe with intonations of Transcarpathian melodies (which is connected with the young couple Hanna and Levko and the image of Pannochka) and the theme of hand drums, which reveals the inner strength of the Ukrainian people, as well as demonological beginning associated with the witch-stepmother. The music gives way to the sounds of night nature and the stars appear on the backdrop. Their low location and shape resemble the Christmas stars, with which carolers sing for Christmas. In the dark, the figure of Pannochka appears, wrapped in white cloths remembering a shroud. The unfolding of intersecting clothes above Pannochka’s head, and then their rotation symbolize both the alternation of day and night and the winter solstice. Thus, there are both, the Orthodox and the Pagan features, in depiction of the Ukrainian village. From several notes that the heroine sings, her leitmotif grows up. He fits well on modern arrangements of Ukrainian music, and is easily recognizable on his own. In combination with Pannochka’s sudden gusty movements (as if a bird is trying to break out of the snare, fly up into the sky), it helps to reveal her ambivalent nature: on the one hand, of the martyr, on the other – the representative of evil forces. Pannochka becomes the main character of the performance, and the Moon becomes her attribute, which can turn into the tambourine of shaman, the lyre, the sword, etc. The youth walking scene “on the garden” with the use of the jigging puppet, accompanied by folk songs differs in tempo and rhythm from previous mysteriously lyrical scenes. In the next episode, Pannochka enchants the characters on the stage with moonlight, so the meeting and the dialogue between Hanna and Levko begin to be perceived as a dream of heroes. This is facilitated by both the slow movements of the actors, the lengthy summons into the names of the characters, their flight around the stage, and the dialogue with the Moon that Pannochka props up. The tragic history of Pannochka is depicted first with the help of portraits of its participants on round screens, and then the screens are assembled into the figure of a Witch-Cat. This form also is reminiscent of a Chinese dancing Dragon. The episode with the hand fans depicting the “cat’s claws” is accompanied by alarming drum sound: Pannochka has no repose from the Witch even after death. The village in the new picture is reflected in the ripples of water: the real world is floating, swinging. Hanna and Levko confess their love to each other, however, Kalenik suddenly appears, recalling the Head. The image of the Head is solved by the director using two masks – large and small. At the beginning of the second act, the actors appear on the stage with long poles, which are similar both to the Chinese combat weapon and to the Ukrainian musical instruments “trembits”, allowing the actors to show brilliant plastic technique of “slow-motion”. Stylized masks of animals (cows, goats, pigs, roosters), which the walking lads pulling on themselves are the allusion to the Christmas fests. The lad boys strive to annoy the Head, so Head masks reappear on the scene, but there are already three of them: large, medium and small. With their help, there is a debunking of this character losing his power. The action transferred to the bottom of the pond, as symbolized by stylized fish. The drums and the fans – the cat’s claws – once again remind of the conflict between Pannochka and the Witch. Like in Gogol’s novella, the heroine asks Levko to find the Stepmother-Witch. The marionnette a la planchette and then – a shadow paper doll represent the image of the hero. Thanks to Levko, Mermaids (the original puppets) seize the Witch, and her death is symbolized by a broken rattle-rattle with the image of the cat’s muzzle. Next, the scene action follows by the Gogol’s novella: grateful Pannochka given to Levko the note, Head read it and allowed his son to marry Hanna. The image of Levko is represented here both in the system of the tablet puppet and in the means of the shadow theater. And the long clothes-shrouds acquainted from the first episodes of the play perform a number of new functions: this is the water of the pond, where Pannochka floats, and the paper, on which the note is written, and later – the wedding table. In this way the end of the Pannochka plot line comes. The spiritual verse «The soul with the body was parting» sounds, and in the hands of actress V. Mishchenko, the light paper doll, as the soul of her heroine, seeks up into the sky. Pannochka redeemed her sins, and now her soul can fly to heaven, because Easter has come. The last episode uses the “time-lapse” technique symbolizing the cleansing of the world from evil, and Pannochka’s leitmotif is organically superimposed on the Easter chime of bells. The action ends with a rap on the words “The Angels had opened the windows and they are looking on us” and the news that Easter has come. The final supports an idea that a person’s life moves from Christmas to Easter, from suffering to light, thus closing the spectacle into a ring composition. Conclusions. The original Gogol’s text allowed O. Dmitrieva to show a wide palette of modern possibilities of the puppet theater and the high skill of the actors of the “live plan”. In addition, the interweaving of national and foreign, Orthodoxy and paganism, an appeal to the expressive possibilities of the Ukrainian folk and modern music and to the ballet plastique suggest the postmodern nature of the play «May night, or MoonlightWitchcraft».

Background. The children’s opera in all its diversity has undergone a rapid path to its formation and development, responding to changes in the art and aesthetic space of musical culture. The active being and the practical use of this phenomenon only emphasize the gaps in musicology science more acutely. Some researchers combine with the notion of «children’s opera» both works that involve children to participate in the performing process, and those which are aimed at a certain age audience. Other authors put the term «opera for children» as universal, but use it to describe various works. However, if the information about this genre is contained in the scientifi c literature, research on opera for children-performers analogue, children’s operetta which was formed and used by considerable demand in the late 19th – in the fi rst half of the 20th century in the English-speaking countries, is practically absent. This determines the relevance of the chosen subject. Objectives. The objective of this study is to consider the features of the libretto, the compositional and dramaturgical properties of the children’s operetta by J. L. Gaynor The House that Jack Built as one of the English-language samples of the genre. Methods. So far these methods were been applied: historical, structural and functional, comparative. Results. It is diffi cult to indicate the exact date of the children’s operetta emergence. It is known from available literature that it became widespread in the 1880s. In the following decades, the popularity of children’s operettas does not fade, rather, it only grows. The school authorities even were worried about such an intensity of extracurricular work. However, this fact did not affect the number of performances. There are books containing instructions and guidance, tips on probable diffi culties that could be faced by fi rst-time directors. In particular, it was recommended to divide responsibilities between school departments and draw up a general plan of action. Attention was paid to organizing an advertising campaign to attract as many viewers as possible. With such performance enthusiasm, there was a certain lack of repertoire written specifi cally for children and adolescents. Not surprisingly, the music teachers sought to replenish it. Among them was an American piano and harmony teacher Jessie Lovel Smith Gaynor (1863–1921) who composed The House that Jack Built (1902). This is not the only sample of children’s operetta in the heritage of J. L. Gaynor, she wrote a few more works, mostly after fairy tales: The Lost Princess Bo-Peep (its plot matches Jack’s one), The Toy Shop, Snow White, The Magic Wheel, Three Wishes, The Return of Proserpina, and On Plymouth Rock. The libretto of The House that Jack Built, written by A. G. D. Riley, is compiled on the basis of nursery rhymes, which are an integral part of the English-speaking countries culture. The operetta includes 24 folklore texts (full or fragmented): poems, two counters, and a ballad. To organize the plot, the librettist used the «stringing» method, or the cumulative principle, joining each subsequent element to the previous one with the help of the Mother Goose’s recitative lines. She is the key character, who greets and introduces new guests at her party. This principle is refl ected in the organization of the whole operetta. Mother Gooses’ cues are a refrain similar to the poem The House that Jack Built. Each character is not related to the previous one or the next, they are united only by belonging to the images of folk poetry. Since the libretto is mainly based on miniatures (with one or two verses), there are many participants of the performance: 43 characters, 21 thrushes, and collective characters, the number of which is not specifi ed precisely. There is no plot in common sense – as a series of related events built in accordance with certain principles – in The House that Jack Built. Rather, it reminds the carnival procession, in which characters are appearing one by one. They have bright, sometimes extravagant costumes, which vary with the speed of the pattern in the kaleidoscope. The structure of the operetta is simple and clear. It consists of two acts, divided into 19 big numbers (9 in the fi rst action, 10 in the second), which are often built in the form of a suite. The balance among solo-ensemble and choral numbers in The House that Jack Built is unequal. The choruses prevail in the operetta (there are about 20 of them). It is diffi cult to name the exact number because the author does not always clarify the exact cast. Solo and ensemble numbers are 4 times fewer; in addition, there are 2 numbers in the 2d act, in which the soloist and choir sing together. To achieve compositional and dramatic unity, there was a need to involve additional means in addition to the cross-cutting image of Mother Goose, since the Jack’s plot is deprived of the consistent development of events. This function is performed by several themes: «fairy tale» (in the future it is associated with the appearance of fairies and elves), «pastoral» (its emergence is marked by the remark Andante Pastorale), the theme of Jack, the dance motive, and the theme of King Cole. They are exhibited in the overture for the fi rst time. When the act begins, they are joined by the themes of Mother Goose and Thrushes. For the fi rst time, most of the themes are conducted in the overture. This determines the suite character of its structure: 6 episodes that contrast with each other by tempo. The piano part plays an important role in the operetta. It presents the leading themes, the main image-bearing and poetic motives, and supports the performers in the vocal appearances. The revealed signs give grounds to consider the English-language children’s operetta a national model of opera for children-performers. Conclusions. In the English-speaking countries, particularly in the USA, at the end of the 19th – in the fi rst half of the 20th century the tradition to perform operettas at schools was formed. This works from their form and contents were similar to compositions which were called children’s operas (operas for children-performers) in Europe. An analysis of The House that Jack Built by J. L. Gaynor allows us to interpret the author’s genre name in its original linguistic meaning – «small opera». A signifi cant number of such works still remain beyond the attention of scholars and require a thorough study both in historical and in theoretical directions.

Estonian ethnographers in southern Vepsian villages, 1965–1969 Estonian ethnographers have taken an interest in Finno-Ugric peoples since the dawn of ethnography, and to the extent possible, they have made trips to the regions in question to study their culture. Starting in the 1960s, the State Ethnography Museum of the Estonian SSR in Tartu (the past and present Estonian National Museum) became the hub of Finno-Ugric ethnography under its director, Aleksei Peterson. Expeditions to the linguistic relatives in the east began at the initiative and with the support of linguists (chiefly, Paul Ariste) and continued in later years independently. The article looks at five expeditions made by Estonian ethnographers to southern Vepsian villages in the years 1965–1969. The central source is the fieldwork diaries maintained on the expeditions. In addition, the article examines the photographs, film footage and drawings from these expeditions, along with collected items and ethnographic descriptions. The scholarly and popular science-oriented texts based on the material acquired on the expeditions and coverage of the expeditions in the Estonian media of that era are analysed. Interviews were conducted with a few of the people who took part in the trips. The southern Veps region was poorly connected with the rest of the world in the 1960s, and the people there led quite an isolated existence. For this reason, the villages in the region had an abundance of extant or only recently defunct aspects (such as slash and burn agriculture, dugout canoe construction or use of twigs to heat the stove), which captivated the ethnologists. The southern Veps region was a unique window to the past for Estonian researchers, who in that period dealt with questions of ethnogenesis. The material culture had received little study and Peterson saw this as his calling and an opportunity. Modernisation was already under way and everything old was at risk of fading. Ethnographers interested in these matters had to hurry to save for science what could be salvaged. The traditional peasant culture of the Vepsians was documented using still cameras and film cameras, ethnographic interviews were conducted, ethnographic drawings prepared, and artefacts were collected with great verve. Quantity was important, and the field work was generally a collective pursuit – many people could after all accomplish more than just one. The material recorded in the course of fieldwork reached academic circulation quite rapidly – presentations were delivered at international conferences, and journal articles were published. The coverage of the expeditions in the Estonian media was quite lively as well. Newspapers published accounts of various lengths and on at least once occasion the ethnographers’ activities in the Vepsian region was discussed on television. Estonian scholars perceived and conveyed the southern Veps villages as some kind of Baltic-Finnic fairy tale land. In general, researchers relished the opportunity to go on an expedition. It was felt that this was a noble thing, which in some sense also tied in with the Estonian national cause. Research into the linguistic relatives was positively received by Estonian society for this reason – i.e. it was linked to the national identity. Local authorities in the destination regions generally took a positive attitude toward the ethnographers. The zeitgeist favoured science and expeditions. The Veps people – especially those in more remote and isolated villages – frequently greeted the Estonian ethnographers with initial scepticism. The Estonians had to explain their objectives and use documents to prove their bona fides. Later the alienation dissipated and once the close kinship of the Vepsian and Estonian languages was revealed, the newcomers received a rapturous reception as if they were long-lost relatives. At Sodjärv Lake, which served on multiple occasions as the ethnographers’ base camp, Estonian researchers became accepted by the Vepsians as their own people. It is difficult to gauge precisely the influence that those and later expeditions had on the Vepsian peoples. The Estonians’ visits probably helped to bolster the generally weak self-identity of the Veps people. While the Russians in the region all too often took a supercilious view of the Veps and their language, the ethnographers from Estonia had come to study them precisely because of their identity and held in high regard everything from old peasant culture to the language. Some local people still speak positively about Estonians. The five expeditions to the villages of the southern Vepsian region discussed in this article, their outcome and resonance make up a key part of a cultural current that sprang from Finno-Ugric studies in Soviet Estonia, the best-known examples of which are Lennart Meri’s ethnographic documentary films, the choral music of Veljo Tormis and the graphic art of Kaljo Põllu. Emphasising their Finno-Ugric roots was for Estonians an additional way to express their Estonian identity independent of Soviet rule and ethnographers made a significant contribution to this trend.

Article aims to explore the issues of image personification and show its practical implementation possibilities in music practice. The purpose of the article – to assess compositions of S. Prokofiev, P. Plakidis and J. Karlsons. Using analytical and comparative research methods, I will try to show the differences in personification in S. Prokofiev's symphonic story “Peter and the Wolf”, P. Plakidis` symhonic fairy tale “The Steadfast Tin Soldier” un J. Karlsons` “Rural Suite” for symhonic orchestra.

This study explores imagery evoked by Guided Imagery and Music’s (GIM) ‘Nurturing’ programme (seven classical orchestral compositions) and relates it to Jung’s Eros principle (passive and nurturing). Participants’ statements during 23 GIM sessions were recorded, transcribed and categorised by five coders into seven sub-categories, three of which belonged to Jung’s Eros (Flora, Fauna, Feelings), three to his Logos (Events, Structures, Actions), and one (Characters) that mixed Eros and Logos. The same categorisation was applied to 23 randomly selected fairy-tales from different cultures as a comparison. We predicted that participants’ imagery would be mainly Eros, corresponding to the choice of music. In fact, categories Structures(Logos), Flora(Eros), Fauna(Eros) and Feelings(Eros) occurred significantly more often in participants’ imagery than in the fairy-tale comparisons. These categories are plot-static: they do not generate active relationships between characters. Events(Logos), Actions(Logos) and Characters(Eros/Logos) occurred significantly less often. We conclude that music of the ‘Nurturing’ programme elicits mostly the Eros type imagery. It has the psychological function of creating an emotional-scenic background, but does not drive the narrative plot. In this sense, it may be misleading to describe the music of ‘Nurturing’ as a kind of virtual narrative or as having narrative structure or function.

Finally, Paul Grimault's beautiful, poetic and humorous tale about oppression and the struggle for freedom - the chef d'œuvre of French animation which also influenced Miyazaki - can now be enjoyed by more than a lucky few. Meticulously restored after a two-year effort, the image and colour quality of the transfer is pure pleasure to behold. On top of this, Jacques Prévert's poetic text and the lyrical score by Joseph Kosma (songs) and Wojciech Kilar (music) are simply unforgettable. The film's story, based on Hans Christian Andersen's fairy-tale The Shepherdess and the Chimney-Sweep is simple, so that perhaps the (unfortunately unavailable) English subtitles will not really be missed. The set includes a 56-minute documentary on Grimault and his 1988 feature La table tournante (co-dir. Jacques Demy; both in French)....

Abstract László Arany's Eredeti népmesék (Authentic Folktales, 1862) is an iconic collection of folktales. The tales in this publication have been entrenched in the national identity as classic Hungarian folktales, and the narrative style of the tales has been established in the public consciousness as the narrative style of Hungarian folktales. The Arany family's collection of folktales ultimately had a similar function in Hungarian culture as the Kinder- und Hausmärchen of the Brothers Grimm had in Germany, but while the text formation of the Grimm tales had been thoroughly explored by philology, the Arany tales had not been accompanied by folkloristic interpretations or in-depth philological analyses. To László Arany, the fairy tales of the Brothers Grimm were the ideal, which he indicated in his many theoretical writings as well as his role as a collector and editor of tales. To form the individual texts found in Eredeti népmesék, László Arany used the tale manuscripts transcribed by his mother and sister in the 1850s, modifying them considerably, primarily by employing stylistic devices, many of which can also be observed in the work of the Grimms. This essay examines the extent to which László Arany's editorial and text formation practices were determined by the textological practice developed by the Brothers Grimm, and ultimately the extent to which the stylistic ideals of fairy tales developed by the Grimms contributed to the development of the written, literary version of Hungarian folktales.

The traditional German tale of the Pied Piper of Hamelin inhabits an ambiguous narrative borderland, a liminal space between fact and fiction, fantasy and horror, concrete details and elusive mystery. In his study of the Pied Piper in Tradition and Innovation in Folk Literature, Wolfgang Mieder describes how manuscripts and other evidence appear to confirm the historical base of the story. Precise details from a fifteenth-century manuscript, based on earlier sources, specify that in 1284 on the 26th of June, the feast-day of Saints John and Paul, 130 children from Hamelin were led away by a piper clothed in many colours to the Koppen Hill, and there vanished (Mieder 48). Later manuscripts add details familiar today, such as a plague of rats and a broken bargain with burghers as a motive for the Piper’s actions, while in the seventeenth century the first English-language version advances what might also be the first attempt at a “rational” explanation for the children’s disappearance, claiming that they were taken to Transylvania. The uncommon pairing of such precise factual detail with enigmatic mystery has encouraged many theories. These have ranged from references to the Children’s Crusade, or other religious fervours, to the devastation caused by the Black Death, from the colonisation of Romania by young German migrants to a murderous rampage by a paedophile. Fictional interpretations of the story have multiplied, with the classic versions of the Brothers Grimm and Robert Browning being most widely known, but with contemporary creators exploring the theme too. This includes interpretations in Hamelin itself. On 26 June 2015, in Hamelin Museum, I watched a wordless five-minute play, entirely performed not by humans but by animatronic stylised figures built out of scrap iron, against a montage of multilingual, confused voices and eerie music, with the vanished children represented by a long line of small empty shirts floating by. The uncanny, liminal nature of the story was perfectly captured. Australia is a world away from German fairy tale mysteries, historically, geographically, and culturally. Yet, as Lisa M. Fiander has persuasively argued, contemporary Australian fiction has been more influenced by fairy tales than might be assumed, and in this essay it is proposed that major motifs from the Pied Piper appear in several Australian novels, transformed not only by distance of setting and time from that of the original narrative, but also by elements specific to the Australian imaginative space. These motifs are lost children, the enigmatic figure of the Piper himself, and the power of a very particular place (as Hamelin and its Koppen Hill are particularised in the original tale). Three major Australian novels will be examined in this essay: Joan Lindsay’s Picnic at Hanging Rock (1967), Christopher Koch’s The Doubleman (1985), and Ursula Dubosarsky’s The Golden Day (2011). Dubosarsky’s novel was written for children; both Koch’s and Lindsay’s novels were published as adult fiction. In each of these works of fiction, the original tale’s motifs have been developed and transformed to express unique evocations of the Pied Piper theme. As noted by Fiander, fiction writers are “most likely to draw upon fairy tales when they are framing, in writing, a subject that generates anxiety in their culture” (158). Her analysis is about anxieties of place within Australian fiction, but this insight could be usefully extended to the motifs which I have identified as inherent in the Pied Piper story. Prominent among these is the lost children motif, whose importance in the Australian imagination has been well-established by scholars such as Peter Pierce. Pierce’s The Country of Lost Children: An Australian Anxiety explores this preoccupation from the earliest beginnings of European settlement, through analysis of fiction, newspaper reports, paintings, and films. As Pierce observed in a later interview in the Sydney Morning Herald (Knox), over time the focus changed from rural children and the nineteenth-century fear of the vast impersonal nature of the bush, where children of colonists could easily get lost, to urban children and the contemporary fear of human predators.In each of the three novels under examination in this essay, lost children—whether literal or metaphorical—feature prominently. Writer Carmel Bird, whose fiction has also frequently centred on the theme of the lost child, observes in “Dreaming the Place” that the lost child, the stolen child – this must be a narrative that is lodged in the heart and imagination, nightmare and dream, of all human beings. In Australia the nightmare became reality. The child is the future, and if the child goes, there can be no future. The true stories and the folk tales on this theme are mirror images of each other. (7) The motif of lost children—and of children in danger—is not unique to the Pied Piper. Other fairy tales, such as Hansel and Gretel and Little Red Riding Hood, contain it, and it is those antecedents which Bird cites in her essay. But within the Pied Piper story it has three features which distinguish it from other traditional tales. First, unlike in the classic versions of Hansel and Gretel or Red Riding Hood, the children do not return. Neither are there bodies to find. The children have vanished into thin air, never to be seen again. Second, it is not only parents who have lost them, but an entire community whose future has been snatched away: a community once safe, ordered, even complacent, traumatised by loss. The lack of hope, of a happy ending for anyone, is striking. And thirdly, the children are not lost or abandoned or even, strictly speaking, stolen: they are lured away, semi-willingly, by the central yet curiously marginal figure of the Piper himself. In the original story there is no mention of motive and no indication of malice on the part of the Piper. There is only his inexplicable presence, a figure out of fairy folklore appearing in the midst of concrete historical dates and numbers. Clearly, he links to the liminal, complex world of the fairies, found in folklore around the world—beings from a world close to the human one, yet alien. Whimsical and unpredictable by human standards, such beings are nevertheless bound by mysteriously arbitrary rules and taboos, and haunt the borders of the human world, disturbing its rational edges and transforming lives forever. It is this sense of disturbance, that enchanting yet frightening sudden shifting of the border of reality and of the comforting order of things, the essence of transformation itself, which can also be seen at the core of the three novels under examination in this essay, with the Piper represented in each of them but in different ways. The third motif within the Pied Piper is a focus on place as a source of uncanny power, a theme which particularly resonates within an Australian context. Fiander argues that if contemporary British fiction writers use fairy tale to explore questions of community and alienation, and Canadian fiction writers use it to explore questions of identity, then Australian writers use it to explore the unease of place. She writes of the enduring legacy of Australia’s history “as a settler colony which invests the landscape with strangeness for many protagonists” (157). Furthermore, she suggests that “when Australian fiction writers, using fairy tales, describe the landscape as divorced from reality, they might be signalling anxiety about their own connection with the land which had already seen tens of thousands of years of occupation when Captain James Cook ‘found’ it in 1770” (160). I would argue, however, that in the case of the Pied Piper motifs, it is less clear that it is solely settler anxieties which are driving the depiction of the power of place in these three novels. There is no divorce from reality here, but rather an eruption of the metaphysical potency of place within the usual, “normal” order of reality. This follows the pattern of the original tale, where the Piper and all the children, except for one or two stragglers, disappear at Koppen Hill, vanishing literally into the hill itself. In traditional European folklore, hollow hills are associated with fairies and their uncanny power, but other places, especially those of water—springs, streams, even the sea—may also be associated with their liminal world (in the original tale, the River Weser is another important locus for power). In Joan Lindsay’s Picnic at Hanging Rock, it is another outcrop in the landscape which holds that power and claims the “lost children.” Inspired partly by a painting by nineteenth-century Australian artist William Ford, titled At the Hanging Rock (1875), depicting a group of elegant people picnicking in the bush, this influential novel, which inspired an equally successful film adaptation, revolves around an incident in 1900 when four girls from Appleyard College, an exclusive school in Victoria, disappear with one of their teachers whilst climbing Hanging Rock, where they have gone for a picnic. Only one of their number, a girl called Irma, is ever found, and she has no memory of how and why she found herself on the Rock, and what has happened to the others. This inexplicable event is the precursor to a string of tragedies which leads to the violent deaths of several people, and which transforms the sleepy and apparently content little community around Appleyard College into a centre of loss, horror, and scandal.Told in a way which makes it appear that the novelist is merely recounting a true story—Lindsay even tells readers in an author’s note that they must decide for themselves if it is fact or fiction—Picnic at Hanging Rock shares the disturbingly liminal fact-fiction territory of the Piper tale. Many readers did in fact believe that the novel was based on historical events and combed newspaper files, attempting to propound ingenious “rational” explanations for what happened on the Rock. Picnic at Hanging Rock has been the subject of many studies, with the novel being analysed through various prisms, including the Gothic, the pastoral, historiography, and philosophy. In “Fear and Loathing in the Australian Bush,” Kathleen Steele has depicted Picnic at Hanging Rock as embodying the idea that “Ordered ‘civilisation’ cannot overcome the gothic landscapes of settler imaginations: landscapes where time and people disappear” (44). She proposes that Lindsay intimates that the landscape swallows the “lost children” of the novel because there is a great absence in that place: that of Aboriginal people. In this reading of the novel, it is that absence which becomes, in a sense, a malevolent presence that will reach out beyond the initial disappearance of the three people on the Rock to destroy the bonds that held the settler community together. It is a powerfully-made argument, which has been taken up by other scholars and writers, including studies which link the theme of the novel with real-life lost-children cases such as that of Azaria Chamberlain, who disappeared near another “Rock” of great Indigenous metaphysical potency—Uluru, or Ayers Rock. However, to date there has been little exploration of the fairy tale quality of the novel, and none at all of the striking ways in which it evokes Pied Piper motifs, whilst transforming them to suit the exigencies of its particular narrative world. The motif of lost children disappearing from an ordered, safe, even complacent community into a place of mysterious power is extended into an exploration of the continued effects of those disappearances, depicting the disastrous impact on those left behind and the wider community in a way that the original tale does not. There is no literal Pied Piper figure in this novel, though various theories are evoked by characters as to who might have lured the girls and their teacher, and who might be responsible for the disappearances. Instead, there is a powerful atmosphere of inevitability and enchantment within the landscape itself which both illustrates the potency of place, and exemplifies the Piper’s hold on his followers. In Picnic at Hanging Rock, place and Piper are synonymous: the Piper has been transformed into the land itself. Yet this is not the “vast impersonal bush,” nor is it malevolent or vengeful. It is a living, seductive metaphysical presence: “Everything, if only you could see it clearly enough, is beautiful and complete . . .” (Lindsay 35). Just as in the original tale, the lost children follow the “Piper” willingly, without regret. Their disappearance is a happiness to them, in that moment, as it is for the lost children of Hamelin, and quite unlike how it must be for those torn apart by that loss—the community around Appleyard, the townspeople of Hamelin. Music, long associated with fairy “takings,” is also a subtle feature of the story. In the novel, just before the luring, Irma hears a sound like the beating of far-off drums. In the film, which more overtly evokes fairy tale elements than does the novel, it is noteworthy that the music at that point is based on traditional tunes for Pan-pipes, played by the great Romanian piper Gheorge Zamfir. The ending of the novel, with questions left unanswered, and lives blighted by the forever-inexplicable, may be seen as also following the trajectory of the original tale. Readers as much as the fictional characters are left with an enigma that continues to perplex and inspire. Picnic at Hanging Rock was one of the inspirations for another significant Australian fiction, this time a contemporary novel for children. Ursula Dubosarsky’s The Golden Day (2011) is an elegant and subtle short novel, set in Sydney at an exclusive girls’ school, in 1967. Like the earlier novel, The Golden Day is also partly inspired by visual art, in this case the Schoolgirl series of paintings by Charles Blackman. Combining a fairy tale atmosphere with historical details—the Vietnam War, the hanging of Ronald Ryan, the drowning of Harold Holt—the story is told through the eyes of several girls, especially one, known as Cubby. The Golden Day echoes the core narrative patterns of the earlier novel, but intriguingly transformed: a group of young girls goes with their teacher on an outing to a mysterious place (in this case, a cave on the beach—note the potent elements of rock and water, combined), and something inexplicable happens which results in a disappearance. Only this time, the girls are much younger than the characters of Lindsay’s novel, pre-pubertal in fact at eleven years old, and it is their teacher, a young, idealistic woman known only as Miss Renshaw, who disappears, apparently into thin air, with only an amber bead from her necklace ever found. But it is not only Miss Renshaw who vanishes: the other is a poet and gardener named Morgan who is also Miss Renshaw’s secret lover. Later, with the revelation of a dark past, he is suspected in absentia of being responsible for Miss Renshaw’s vanishment, with implications of rape and murder, though her body is never found. Morgan, who could partly figure as the Piper, is described early on in the novel as having “beautiful eyes, soft, brown, wet with tears, like a stuffed toy” (Dubosarsky 11). This disarming image may seem a world away from the ambiguously disturbing figure of the legendary Piper, yet not only does it fit with the children’s naïve perception of the world, it also echoes the fact that the children in the original story were not afraid of the Piper, but followed him willingly. However, that is complicated by the fact that Morgan does not lure the children; it is Miss Renshaw who follows him—and the children follow her, who could be seen as the other half of the Piper. The Golden Day similarly transforms the other Piper motifs in its own original way. The children are only literally lost for a short time, when their teacher vanishes and they are left to make their own way back from the cave; yet it could be argued that metaphorically, the girls are “lost” to childhood from that moment, in terms of never being able to go back to the state of innocence in which they were before that day. Their safe, ordered school community will never be the same again, haunted by the inexplicability of the events of that day. Meanwhile, the exploration of Australian place—the depiction of the Memorial Gardens where Miss Renshaw enjoins them to write poetry, the uncomfortable descent over rocks to the beach, and the fateful cave—is made through the eyes of children, not the adolescents and adults of Picnic at Hanging Rock. The girls are not yet in that liminal space which is adolescence and so their impressions of what the places represent are immediate, instinctive, yet confused. They don’t like the cave and can’t wait to get out of it, whereas the beach inspires them with a sense of freedom and the gardens with a sense of enchantment. But in each place, those feelings are mixed both with ordinary concerns and with seemingly random associations that are nevertheless potently evocative. For example, in the cave, Cubby senses a threateningly weightless atmosphere, a feeling of reality shifting, which she associates, apparently confusedly, with the hanging of Ronald Ryan, reported that very day. In this way, Dubosarsky subtly gestures towards the sinister inevitability of the following events, and creates a growing tension that will eventually fade but never fully dissipate. At the end, the novel takes an unexpected turn which is as destabilising as the ending of the Pied Piper story, and as open-ended in its transformative effects as the original tale: “And at that moment Cubby realised she was not going to turn into the person she had thought she would become. There was something inside her head now that would make her a different person, though she scarcely understood what it was” (Dubosarsky 148). The eruption of the uncanny into ordinary life will never leave her now, as it will never leave the other girls who followed Miss Renshaw and Morgan into the literally hollow hill of the cave and emerged alone into a transformed world. It isn’t just childhood that Cubby has lost but also any possibility of a comforting sense of the firm borders of reality. As in the Pied Piper, ambiguity and loss combine to create questions which cannot be logically answered, only dimly apprehended.Christopher Koch’s 1985 novel The Doubleman, winner of the Miles Franklin Award, also explores the power of place and the motif of lost children, but unlike the other two novels examined in this essay depicts an actual “incarnated” Piper motif in the mysteriously powerful figure of Clive Broderick, brilliant guitarist and charismatic teacher/guru, whose office, significantly, is situated in a subterranean space of knowledge—a basement room beneath a bookshop. Both central yet peripheral to the main action of the novel, touched with hints of the supernatural which never veer into overt fantasy, Broderick remains an enigma to the end. Set, like The Golden Day, in the 1960s, The Doubleman is narrated in the first person by Richard Miller, in adulthood a producer of a successful folk-rock group, the Rymers, but in childhood an imaginative, troubled polio survivor, with a crutch and a limp. It is noteworthy here that in the Grimms’ version of the Pied Piper, two children are left behind, despite following the Piper: one is blind, one is lame. And it is the lame boy who tells the townspeople what he glimpsed at Koppen Hill. In creating the character of Broderick, the author blends the traditional tropes of the Piper figure with Mephistophelian overtones and a strong influence from fairy lore, specifically the idea of the “doubleman,” here drawn from the writings of seventeenth-century Scottish pastor, the Reverend Robert Kirk of Aberfoyle. Kirk’s 1691 book The Secret Commonwealth of Elves, Fauns and Fairies is the earliest known serious attempt at objective description of the fairy beliefs of Gaelic-speaking Highlanders. His own precisely dated life-story and ambiguous end—it is said he did not die but is forever a prisoner of the fairies—has eerie parallels to the Piper story. “And there is the uncanny, powerful and ambiguous fact of the matter. Here is a man, named, born, lived, who lived a fairy story, really lived it: and in the popular imagination, he lives still” (Masson).Both in his creative and his non-fiction work Koch frequently evoked what he called “the Otherland,” which he depicted as a liminal, ambiguous, destabilising but nevertheless very real and potent presence only thinly veiled by the everyday world. This Otherland is not the same in all his fictions, but is always part of an actual place, whether that be Java in The Year of Living Dangerously, Hobart and Sydney in The Doubleman, Tasmania, Vietnam and Cambodia in Highways to a War, and Ireland and Tasmania in Out of Ireland. It is this sense of the “Otherland” below the surface, a fairy tale, mythical realm beyond logic or explanation, which gives his work its distinctive and particular power. And in The Doubleman, this motif, set within a vividly evoked real world, complete with precise period detail, transforms the Piper figure into one which could easily appear in a Hobart lane, yet which loses none of its uncanny potency. As Noel Henricksen writes in his study of Koch’s work, Island and Otherland, “Behind the membrane of Hobart is Otherland, its manifestations a spectrum stretched between the mystical and the spiritually perverted” (213).This is Broderick’s first appearance, described through twelve-year-old Richard Miller’s eyes: Tall and thin in his long dark overcoat, he studied me for the whole way as he approached, his face absolutely serious . . . The man made me uneasy to a degree for which there seemed to be no explanation . . . I was troubled by the notion that he was no ordinary man going to work at all: that he was not like other people, and that his interest couldn’t be explained so simply. (Koch, Doubleman 3)That first encounter is followed by another, more disturbing still, when Broderick speaks to the boy, eyes fixed on him: “. . . hooded by drooping lids, they were entirely without sympathy, yet nevertheless interested, and formidably intelligent” (5).The sense of danger that Broderick evokes in the boy could be explained by a sinister hint of paedophilia. But though Broderick is a predator of sorts on young people, nothing is what it seems; no rational explanation encompasses the strange effect of his presence. It is not until Richard is a young man, in the company of his musical friend Brian Brady, that he comes across Broderick again. The two young men are looking in the window of a music shop, when Broderick appears beside them, and as Richard observes, just as in a fairy tale, “He didn’t seem to have changed or aged . . .” (44). But the shock of his sudden re-appearance is mixed with something else now, as Broderick engages Brady in conversation, ignoring Richard, “. . . as though I had failed some test, all that time ago, and the man had no further use for me” (45).What happens next, as Broderick demonstrates his musical prowess, becomes Brady’s teacher, and introduces them to his disciple, young bass player Darcy Burr, will change the young men’s lives forever and set them on a path that leads both to great success and to living nightmare, even after Broderick’s apparent disappearance, for Burr will take on the Piper’s mantle. Koch’s depiction of the lost children motif is distinctively different to the other two novels examined in this essay. Their fate is not so much a mystery as a tragedy and a warning. The lost children of The Doubleman are also lost children of the sixties, bright, talented young people drawn through drugs, immersive music, and half-baked mysticism into darkness and horrifying violence. In his essay “California Dreaming,” published in the collection Crossing the Gap, Koch wrote about this subterranean aspect of the sixties, drawing a connection between it and such real-life sinister “Pipers” as Charles Manson (60). Broderick and Burr are not the same as the serial killer Manson, of course; but the spell they cast over the “lost children” who follow them is only different in degree, not in kind. In the end of the novel, the spell is broken and the world is again transformed. Yet fittingly it is a melancholy transformation: an end of childhood dreams of imaginative potential, as well as dangerous illusions: “And I knew now that it was all gone—like Harrigan Street, and Broderick, and the district of Second-Hand” (Koch, Doubleman 357). The power of place, the last of the Piper motifs, is also deeply embedded in The Doubleman. In fact, as with the idea of Otherland, place—or Island, as Henricksen evocatively puts it—is a recurring theme in Koch’s work. He identified primarily and specifically as a Tasmanian writer rather than as simply Australian, pointing out in an essay, “The Lost Hemisphere,” that because of its landscape and latitude, different to the mainland of Australia, Tasmania “genuinely belongs to a different region from the continent” (Crossing the Gap 92). In The Doubleman, Richard Miller imbues his familiar and deeply loved home landscape with great mystical power, a power which is both inherent within it as it is, but also expressive of the Otherland. In “A Tasmanian Tone,” another essay from Crossing the Gap, Koch describes that tone as springing “from a sense of waiting in the landscape: the tense yet serene expectancy of some nameless revelation” (118). But Koch could also write evocatively of landscapes other than Tasmanian ones. The unnerving climax of The Doubleman takes place in Sydney—significantly, as in The Golden Day, in a liminal, metaphysically charged place of rocks and water. That place, which is real, is called Point Piper. In conclusion, the original tale’s three main motifs—lost children, the enigma of the Piper, and the power of place—have been explored in distinctive ways in each of the three novels examined in this article. Contemporary Australia may be a world away from medieval Germany, but the uncanny liminality and capacious ambiguity of the Pied Piper tale has made it resonate potently within these major Australian fictions. Transformed and transformative within the Australian imagination, the theme of the Pied Piper threads like a faintly-heard snatch of unearthly music through the apparently mimetic realism of the novels, destabilising readers’ expectations and leaving them with subversively unanswered questions. ReferencesBird, Carmel. “Dreaming the Place: An Exploration of Antipodean Narratives.” Griffith Review 42 (2013). 1 May 2016 <https://griffithreview.com/articles/dreaming-the-place/>.Dubosarsky, Ursula. The Golden Day. Sydney: Allen and Unwin, 2011.Fiander, Lisa M. “Writing in A Fairy Story Landscape: Fairy Tales and Contemporary Australian Fiction.” Journal of the Association for the Study of Australian Literature 2 (2003). 30 April 2016 <http://openjournals.library.usyd.edu.au/index.php/JASAL/index>.Henricksen, Noel. Island and Otherland: Christopher Koch and His Books. Melbourne: Educare, 2003.Knox, Malcolm. “A Country of Lost Children.” Sydney Morning Herald 15 Aug. 2009. 1 May 2016 <http://www.smh.com.au/national/a-country-of-lost-children-20090814-el8d.html>.Koch, Christopher. The Doubleman. 1985. Sydney: Minerva, 1996.Koch, Christopher. Crossing the Gap: Memories and Reflections. 1987. Sydney: Vintage, 2000. Lindsay, Joan. Picnic at Hanging Rock. 1967. Melbourne: Penguin, 1977.Masson, Sophie. “Captive in Fairyland: The Strange Case of Robert Kirk of Aberfoyle.” Nation and Federation in the Celtic World: Papers from the Fourth Australian Conference of Celtic Studies, University of Sydney, June–July 2001. Ed. Pamela O’Neil. Sydney: University of Sydney Celtic Studies Foundation, 2003. Mieder, Wolfgang. “The Pied Piper: Origin, History, and Survival of a Legend.” Tradition and Innovation in Folk Literature. 1987. London: Routledge Revivals, 2015.Pierce, Peter. The Country of Lost Children: An Australian Anxiety. Cambridge: Cambridge UP, 1999.Steele, Kathleen. “Fear and Loathing in the Australian Bush: Gothic Landscapes in Bush Studies and Picnic at Hanging Rock.” Colloquy 20 (2010): 33–56. 27 July 2016 <http://artsonline.monash.edu.au/wp-content/arts/files/colloquy/colloquy_issue_20_december_2010/steele.pdf>.

ABSTRACT Ketoprak (Ketoprak Dor) is a Javanese art performance found in North Sumatera which was originated from Surakarta, Central Java. The Performance combines dialogue, drama, dance, and music. It is performed on stage, taking stories about history, old kingdom, fairy tale, daily life, and others with an interspersed joke. Data collection is collected through observation and interviews with the ketoprak artists, owners of the studio, and the spectators, and documentation. The data is analyzed by qualitative analysis technique using performing art theory, ethnomusicology, and history. The results are, first, ketoprak in North Sumatera began to be slowly abandoned despite the adoption of local culture in music, story, clothing, as well as vocabularies used. Second, for its development, it requires strategies for the survival of the performing art among its audiences, particularly Javanese community.Keywords: KetoprakDor, ketoprak in North Sumatra, developing ketoprak, art performance ABSTRAK Ketoprak (Ketoprak Dor)adalah seni pertunjukan Jawa di Sumatera Utara yang berasal dari Surakarta, Jawa Tengah. Pementasannya menggunakan dialog, drama, tarian, dan musik. Ketoprak dipertunjukkan di atas panggung dengan mengambil cerita sejarah, kerajaan, dongeng, kehidupan sehari-hari, dan lainnya dengan diselingi lawak.Pengumpulan data dilakukan melalui pengamatan danwawancara kepada seniman ketoprak, pemilik sanggar, dan masyarakat pengguna, dokumentasi,dan hasilnya dianalisis dengan teknik analisis kualitatif menggunakan teori seni pertunjukan, etnomusikologi, dan metode sejarah. Hasil yang diperoleh menunjukkan bahwa ketoprak di Sumatera Utara secara perlahan mulai ditinggalkan walaupun telah mengadopsi budaya setempat dalam hal musik, cerita, busana, atau tata bahasa yang dipakai. Untuk pengembangannya diperlukan upaya-upaya strategis agar seni pertunjukan ini dapat bertahan dan tetap diminati oleh masyarakat, khususnya komunitas Jawa.Katakunci: KetoprakDor, ketoprak di Sumatra Utara, pengembanganketoprak, seni pertunjukan

The article considers one of the urgent problems of training future social workers to form a tolerant attitude towards children using interactive technologies. In particular, the essence of such concepts as tolerance, training of future social workers, interactive technologies is revealed. The features of interactive methods for recognizing tolerance in interaction with others are highlighted: modeling of life situations, the use of role-playing games, a joint solution to the problem. Attention is directed to the awareness of tolerance in interaction with others through the modeling of life situations, the use of role-playing games, the joint solution of the problems of group interaction in accepting others.The features of interactive gaming methods are summarized: modeling, role-playing situations, game dramatization, organizational-active games, business games, simulation games, correctional games, didactic games, contests. The content of the joint work in the group for regulating students' tolerant behavior is revealed from the point of view of discussing ideas about the situation two-four-all together, dialogue, discussion. To form a desire to accept the individuality of each person, the values of another, the content of interactive methods is presented: a joint project, a team search for information, a circle of ideas, brainstorming, training-education, a decision tree.The article is devoted to the methods of art therapy: therapy, isotherapy, game therapy, fairy tale therapy, puppet therapy, music therapy, dance therapy. The presented interactive methods in the training of future social workers require a combination of collective, cooperative, group and pair collaboration based on equal, equal subject-subject interaction with the mandatory use of reflection of knowledge, skills and methods of their implementation.

Порушується питання втілення образу Турандот у жанрах симфонічної музики, зокрема, у «Метаморфозах» П. Гіндеміта. Докладний структурно-семантичний аналіз дозволяє визначити рівень кореспонденції з темами К.-М. Вебера, які лягли в основу твору Гіндеміта як вияв неокласичних тенденцій, а також прослідкувати музичні маркери, застосовані композитором щодо цього образу, відтвореного засобами сучасної музики в іронічно-пародійному плані. Контекстуальне поле прочитань образу китайської принцеси у музиці ХХ століття збагачується за рахунок «Турандот» П. Гіндеміта симфонічною та балетною версіями, рівночасно демонструючи специфічний аспект орієнтальної тематики.Ключові слова: Турандот, орієнталізм, Пауль Гіндеміт, Скерцо, Метаморфози, пародія, балетні втілення, імагологія, імагосемантика. The aim of this paper is to determine the peculiarities of reading Turandot's image by Paul Hindemith in «Metamorphoses» for symphony orchestra. The methodology of the research is based on the application of the structural-semantic analysis of Scherzo's «Turandot» by P. Hindemit, which is considered using the principles of imagological research in the contextual field of reading the image of a Chinese princess in musical art.Results. In P. Scerzo's P. Hindemith, Turandot's brazen takes on a new meaning: in response to contemporary to the composer political and social conditions through the prism of parody, and extends the boundaries of traditional «Chinese», which is characterized by a vibrant jazz component and a neoclassical dimension, transporting the idea of a Chinese princess through reading an early romantic overture by K. M. von Weber from music to F. Schiller's drama «Turandot». Such specific «polystylistics» in the embodiment of this theme by expanding the intercontinental sound space reveals globalist tendencies and perpetuates humanistic ideals in a kind of grotesque form. The imagosemantics of Turandot's image in P. Hindnmith also contains stable musical markers (toy-puppet theme as a fairy-tale imaginary princess, chromatic-tortuous theme as an imago femme fatale, state imago – fanfare motif as a symbol of imperial-empathetic, motif drums in the spirit of «Chinozerii»). However, a parody-ironic approach to the solution of the image, the genre of eccentric, overflowing with total shock exaltation and warlike scherzo, in which the composer etymologically rethinks the serious challenges of the plot and the image of the heroine itself (the metamorphosis of the delicate «air China» theme into a distorted chromatized dissonance-false fanfare) – appears for the first time. Turandot in the music of the second half of the twentieth century will act more as a representative of totalitarian political structures, nominally representing ChineseOrientalism of the postmodernist type.Novelty. For the first time in national musicology, Turandot's embodiment in the music of the twentieth century was demonstrated, in particular, in the Scherzo of P. Hindemith's Metamorphosis for symphony orchestra, and the features of reading this image in the dimension of oriental imagosemantics were determined.The practical significance. In this article, Ukrainian and foreign musicologists may find information useful for exploring Turandot's image in twentieth-century music, particularly in Paul Hindemith's work in symphonic and ballet incarnations.Key words: Turandot, Orientalism, Paul Hindemith, Scherzo, Metamorphoses, Рarody, Ballet Еmbodiments, Imagology, Іmagosemantics.

The Walt Disney Company has been creating magical fairy tales since the early 1900s and is a trusted brand synonymous with wholesome, family entertainment (Wasko). Over time, this reputation has resulted in the Disney brand’s huge financial growth and influence on audiences worldwide. (Wohlwend). As the largest global media powerhouse in the Western world (Beattie), Disney uses its power and influence to shape the perceptions and ideologies of its audience. In the twenty-first century there has been a proliferation of retellings of Disney fairy tales, and Kilmer suggests that although the mainstream perception is that these new iterations promote gender equity, new cultural awareness around gender stereotypes, and cultural insensitivity, this is illusory. Tangled, for example, was a popular film selling over 10 million DVD copies and positioned as a bold new female fairy tale character; however, academics took issue with this position, writing articles entitled “Race, Gender and the Politics of Hair: Disney’s Tangled Feminist Messages”, “Tangled: A Celebration of White Femininity”, and “Disney’s Tangled: Fun, But Not Feminist”, berating the film for its lack of any true feminist examples or progressiveness (Kilmer). One way to assess the impact of Disney is to look at the use of shape shifting and transformation in the narratives – particularly those that include women and young girls. Research shows that girls and women are often stereotyped and sexualised in the mass media (Smith et al.; Collins), and Disney regularly utilises body modification and metamorphosis within its narratives to emphasise what good and evil ‘look’ like. These magical transformations evoke what Marina Warner refers to as part of the necessary surprise element of the fairy tale, while creating suspense and identity with storylines and characters. In early Disney films such as the 1937 version of Snow White, the queen becomes the witch who brings a poison apple to the princess; and in the 1959 film Sleeping Beauty the ‘bad’ fairy Maleficent shapeshifts into a malevolent dragon. Whilst these ‘good to evil’ (and vice versa) tropes are easily recognised, there are additional transformations that are arguably more problematic than those of the increasingly terrifying monsters or villains. Disney has created what we have coined the ‘princess bubble’, where the physique and behaviour of the leading women in the tales has become a predictor of success and good fortune, and the impression is created of a link between their possession of beauty and the ‘happily-ever-after’ outcome received by the female character. The value, or worth, of a princess is shown within these stories to often increase according to her ability to attract men. For example, in Brave, Queen Elinor showcases the extreme measures taken to ‘present’ her daughter Merida to male suitors. Merida is preened, dressed, and shown how to behave to increase her value to her family, and whilst she manages to persuade them to set aside their patriarchal ideologies in the end, it is clear what is expected from Merida in order to gain male attention. Similarly, Cinderella, Aurora, and Snow White are found to be of high ‘worth’ by the princes on account of their beauty and form. We contend, therefore, that the impression often cast on audiences by Disney princesses emphasises that beauty = worth, no matter how transgressive Disney appears to be on the surface. These princesses are flawlessly beautiful, capable of winning the heart of the prince by triumphing over their less attractive rivals – who are often sisters or other family members. This creates the illusion among young audiences that physical attractiveness is enough to achieve success, and emphasises beauty as the priority above all else. Therefore, the Disney ‘princess bubble’ is highly problematic. It presents a narrow range of acceptability for female characters, offers a distorted view of gender, and serves to further engrain into popular culture a flawed stereotype on how to look and behave that negates a fuller representation of female characters. In addition, Armando Maggi argues that since fairy tales have been passed down through generations, they have become an intrinsic part of many people’s upbringing and are part of a kind of universal imaginary and repository of cultural values. This means that these iconic cultural stories are “unlikely to ever be discarded because they possess both a sentimental value and a moral ‘soundness’” (Rutherford 33), albeit that the lessons to be learnt are at times antiquated and exclusionary in contemporary society. The marketing and promotion of the Disney princess line has resulted in these characters becoming an extremely popular form of media and merchandise for young girls (Coyne et al. 2), and Disney has received great financial benefit from the success of its long history of popular films and merchandise. As a global corporation with influence across multiple entertainment platforms, from its streaming channel to merchandise and theme parks, the gender portrayals therefore impact on culture and, in particular, on how young audiences view gender representation. Therefore, it could be argued that Disney has a social responsibility to ensure that its messages and characters do not skew or become damaging to the psyche of its young audiences who are highly impressionable. When the representation of gender is examined, however, Disney tends to create highly gendered performances in both the early and modern iterations of fairy tales, and the princess characters remain within a narrow range of physical portrayals and agency. The Princess Bubble Although there are twelve official characters within the Disney princess umbrella, plus Elsa and Anna from the Disney Frozen franchise, this article examines the eleven characters who are either born or become royalty through marriage, and exhibit characteristics that could be argued to be the epitome of feminine representation in fairy tales. The characters within this ‘princess bubble’ are Snow White, Cinderella, Aurora, Ariel, Belle, Jasmine, Tiana, Rapunzel, Merida, Elsa, and Anna. The physical appearance of those in the princess bubble also connects to displays around the physical aspects of ethnicity. Nine out of eleven are white skinned, with Jasmine having lightened in skin tone over time, and Tiana now having a tanned look rather than the original dark African American complexion seen in 2009 (Brucculieri). This reinforces an ideology that being white is superior. Every princess in our sample has thick and healthy long hair, the predominant colour being blonde. Their eyes are mostly blue, with only three possessing a dark colour, a factor which reinforces the characteristics and representation of white ethnic groups. Their eyes are also big and bulbous in shape, with large irises and pupils, and extraordinarily long eyelashes that create an almost child-like look of innocence that matches their young age. These princesses have an average age of sixteen years and are always naïve, most without formal education or worldly experience, and they have additional distinctive traits which include poise, elegance and other desired feminine characteristics – like kindness and purity. Ehrenreich and Orenstein note that the physical attributes of the Disney princesses are so evident that the creators have drawn criticism for over-glamorising them, and for their general passiveness and reliance on men for their happiness. Essentially, these women are created in the image of the ultimate male fantasy, where an increased value is placed on the virginal look, followed by a perfect tiny body and an ability to follow basic instructions. The slim bodies of these princesses are disproportionate, and include long necks, demure shoulders, medium- to large-sized perky breasts, with tiny waists, wrists, ankles and feet. Thus, it can be argued that the main theme for those within the princess bubble is their physical body and beauty, and the importance of being attractive to achieve success. The importance of the physical form is so valued that the first blessing given by the fairies to Aurora from Sleeping Beauty is the gift of physical beauty (Rutherford). Furthermore, Tanner et al. argue that the "images of love at first sight in the films encourage the belief that physical appearance is the most important thing", and these fairy tales often reflect a pattern that the prince cannot help but to instantly fall in love with these women because they are so striking. In some instances, like the stories of Cinderella and Snow White, these princesses have not uttered a single word to their prince before these men fall unconditionally and hopelessly in love. Cinderella need only to turn up at the ball as the best dressed (Parks), while Snow White must merely “wait prettily, because someday her prince will come" (Inge) to reestablish her as royalty. Disney emphasises that these princesses win their man solely on the basis that they are the most beautiful girls in the land. In Sleeping Beauty, the prince overhears Aurora’s singing and that sets his heart aflame to the point of refusing to wed the woman chosen for him at birth by the king. Fortunately, she is one and the same person, so the patriarchy survives, but this idea of beauty, and of 'love at first sight', continues to be a central part of Disney movies today, and shows that “Disney Films are vehicles of powerful gender ideologies” (Hairianto). These princesses within the bubble of perfection have priority placed on their physical and sexual beauty (Dietz), formulating a kind of ‘beauty contest motif’. Examples include Gaston, who does not love Belle in Beauty and the Beast, but simply wants her as his trophy wife because he deems her to be the most beautiful girl in the town. Ariel, from The Little Mermaid, looks as if she "was modeled after a slightly anorexic Barbie doll with thin waist and prominent bust. This representation portrays a dangerous model for young women" (Zarranz). The sexualisation of the characters continues as Jasmine has “a delicate nose and small mouth" (Lacroix), with a dress that can be considered as highly sexualised and unsuitable for a girl of sixteen (Lacroix). In Tangled, Rapunzel is held hostage in the tower by Mother Gothel because she is ‘as fragile as a flower’ and needs to be ‘kept safe’ from the harms in the world. But it is her beauty that scares the witch the most, because losing Rapunzel would leave the old woman without her magical anti-aging hair. She uses scare tactics to ensure that Rapunzel remains unseen to the world. These examples are all variations of the beauty theme, as the princesses all fall within narrow and predictable tropes of love at first sight where the woman is rescued and initiated into womanhood by being chosen by a man. Disney’s Progressive Representation? At times Disney’s portrayal of princesses appears illusively progressive, by introducing new and different variations of princesses into the fold – such as Merida in the 2012 film Brave. Unfortunately, this is merely an illusion as the ‘body-perfect’ image remains an all-important ideal to snare a prince. Merida, the young and spirited teenage princess, begins her tale determined not to conform to the desired standards set for a woman of her standing; however, when the time comes for her to be married, there is no negotiating with her mother, the queen, on dress compliance. Merida is clothed against her will to re-identify her in the manner which her parents deem appropriate. Her ability to express her identity and individuality removed, now replaced by a masked version, and thus with the true Merida lost in this transformation, her parents consider Merida to be of renewed merit and benefit to the family. This shows that Disney remains unchanged in its depiction of who may ‘fit’ within the princess bubble, because the rubric is unchanged on how to win the heart of the man. In fact, this film is possibly more troublesome than the rest because it clearly depicts her parents to deem her to be of more value only after her mother has altered her physical appearance. It is only after the total collapse of the royal family that King Fergus has a change of patriarchal heart, and in fact Disney does not portray this rumpled, ripped-sleeved version of the princess in its merchandising campaign. While the fantasy of fairy tales provides enthralling adventures that always end in happiness for the pretty princesses that encounter them, consideration must be given to all those women who have not met the standard and are left in their wake. If women do not conform to the standards of representation, they are presented as outcasts, and happiness eludes them. Cinderella, for example, has two ugly stepsisters, who, no matter how hard they might try, are unable to match her in attractiveness, kindness, or grace. Disney has embraced and not shunned Perrault’s original retelling of the tale, by ensuring that these stepsisters are ugly. They have not been blessed with any attributes whatsoever, and cannot sing, dance, or play music; nor can they sew, cook, clean, or behave respectably. These girls will never find a suitor, let alone a prince, no matter how eager they are to do so. On the physical comparison, Anastasia and Drizella have bodies that are far more rounded and voluptuous, with feet, for example, that are more than double the size of Cinderella’s magical slipper. These women clearly miss the parameters of our princess bubble, emphasising that Disney is continuing to promote dangerous narratives that could potentially harm young audience conceptions of femininity at an important period in their development. Therefore, despite the ‘progressive’ strides made by Disney in response to the vast criticism of their earlier films, the agency afforded to their new generation of princesses does not alter the fact that success comes to those who are beautiful. These beautiful people continue to win every time. Furthermore, Hairianto has found that it is not uncommon for the media to directly or indirectly promote “mental models of how a woman should look, speak and interact with others”, and that Disney uses its pervasive princess influence “to shape perceptions of female identity and desirability. Females are made to measure themselves against the set of values that are meted out by the films” (Hairianto). In the 2017 film Beauty and the Beast, those outside of the princess bubble are seen in the characters of the three maidens from the village who are always trying to look their very best in the hope of attracting Gaston (Rutherford). Gaston is not only disinterested but shows borderline contempt at their glances by permitting his horse to spray mud and dirt all over their fine clothing. They do not meet the beauty standard set, and instead of questioning his cruelty, the audience is left laughing at the horse’s antics. Interestingly, the earlier version of Disney’s Beauty and the Beast portrays these maidens as blonde, slim, and sexy, closely fitting the model of beauty displayed in our princess bubble; however, none match the beauty of Belle, and are therefore deemed inferior. In this manner, Disney is being irresponsible, placing little interest in the psychological ‘safety’ or affect the messages have upon young girls who will never meet these expectations (Ehrenreich; Best and Lowney; Orenstein). Furthermore, bodies are shaped and created by culture. They are central to self-identity, becoming a projection of how we see ourselves. Grosz (xii) argues that our notions of our bodies begin in physicality but are forever shaped by our interactions with social realities and cultural norms. The media are constantly filled with images that “glorify and highlight some kinds of bodies (for example, the young, able-bodied and beautiful) while ignoring or condemning others” (Jones 193), and these influences on gender, ethnicity, sexuality, race, and religion within popular culture therefore play a huge part in identity creation. In Disney films, the princess bubble constantly sings the same song, and “children view these stereotypical roles as the right and only way to behave” (Ewert). In The Princess and the Frog, Tiana’s friend Charlotte is so desperate to ‘catch’ a prince that "she humorously over-applies her makeup and adjusts her ball gown to emphasize her cleavage" (Breaux), but the point is not lost. Additionally, “making sure that girls become worthy of love seems central to Disney’s fairy tale films” (Rutherford 76), and because their fairy tales are so pervasive and popular, young viewers receive a consistent message that being beautiful and having a tiny doll-like body type is paramount. “This can be destructive for developing girls’ views and images of their own bodies, which are not proportioned the way that they see on screen” (Cordwell 21). “The strongly gendered messages present in the resolutions of the movies help to reinforce the desirability of traditional gender conformity” (England et al. 565). Conclusion The princess bubble is a phenomenon that has been seen in Disney’s representation of female characters for decades. Within this bubble there is a narrow range of representation permitted, and attempts to make the characters more progressive have instead resulted in narrow and restrictive constraints, reinforcing dangerous female stereotypes. Kilmer suggests that ultimately these representations fail to break away from “hegemonic assumptions about gender norms, class boundaries, and Caucasian privileging”. Ultimately this presents audiences with strong and persuasive messages about gender performance. Audiences conform their bodies to societal ‘rules’: “as to how we ‘wear’ and ‘use’ our bodies” (Richardson and Locks x), including for example how we should dress, what we should weigh, and how to become popular. In our global hypermediated society, viewers are constantly exposed to princesses and other appropriate bodies. These become internalised ideals and aid in positive and negative thoughts and self-identity, which in turn creates additional pressure on the female body in particular. The seemingly innocent stories with happy outcomes are therefore unrealistic and ultimately excluding of those who cannot or will not ‘fit into the princess bubble’. The princess bubble, we argue, is therefore predictable and restrictive, promoting female passiveness and a reliance of physical traits over intelligence. The dominance of beauty over all else remains the road to female success in the Disney fairy tale film. References Beauty and the Beast. Dirs. Gary Trousdale and Kirk Wise. Walt Disney Productions, 1991. Film. Beauty and the Beast. Dir. Bill Condon. Walt Disney Pictures, 2017. Film. Best, Joel, and Kathleen S. Lowney. “The Disadvantage of a Good Reputation: Disney as a Target for Social Problems Claims.” The Sociological Quarterly 50 (2009): 431–449. doi:10.1111/j.1533-8525.2009.01147.x. Brave. Dirs. Mark Andrews and Brenda Chapman. Walt Disney Pictures, 2012. Film. Breaux, Richard, M. “After 75 Years of Magic: Disney Answers Its Critics, Rewrites African American History, and Cashes in on Its Racist Past.” Journal of African American Studies 14 (2010): 398-416. Cinderella. Dirs. Clyde Geronimi, Wilfred Jackson, and Hamilton Luske. 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Closer examination of contemporary art forms including music videos in addition to the Gothic’s literature legacy is essential, “as it is virtually impossible to ignore the relationship the Gothic holds to popular culture” (Piatti-Farnell ii). This article critically examines how Gothic themes and modes are used in the music videos of Lana Del Rey; particularly the “ways in which Gothic is dispersed through contemporary non-literary media” (Spooner and McEvoy 2). This work follows the argument laid down by Edwards and Monnet who describe Gothic’s assimilation into popular culture —Pop Gothic— as a powerful pop cultural force, not merely a subcultural or cult expression. By interpreting Del Rey’s work as a both a component of, and a contributor to, the Pop Gothic advance, themes of social climate, consumer culture, gender identity, sexuality and the male gaze can be interrogated. Indeed the potential for a collective crisis of these issues in early 21st Century western culture is exposed, “the façade of carnivalised surfaces is revealed to hide the chaos and entropy of existential emptiness.” (Yeo 17). Gothic modes have been approximated by Pop Gothic into the mainstream (Edwards and Monnet) as a driving force behind these contradictions and destabilisations. The Gothic has become ubiquitous within popular culture and continues to exert influence. This is easily reflected in the $392 million the first Twilight movie grossed at the box office (Edwards and Monnet). Examples are abundant in pop culture across music, film and television. Edwards and Monnet cite the movies Zombieland and Blade in the Pop Gothic march, along with TV shows including Buffy the Vampire Slayer, Being Human, True Blood as well as Lady Gaga’s Fame Monster music album. Edwards and Monnet observe that the Gothic aesthetics of the 1980s and 1990s, “melancholy and imagery associated with death, dying and the undead” (3), shifted from the corners of subculture to the mainstream of millennial popular culture. With this shift comes the rebelliousness and melancholy that characterises Gothic texts. This is evident when a pop star of Lana Del Rey’s popularity —her Summertime Sadness video alone has over 160 million views on youtube.com (YouTube)— narratively represents themes of death and suicide repeatedly in her videos. In two of Lana Del Rey’s music videos —Blue Jeans and Born to Die— either she or a representation of her persona dies. In a third video, Summertime Sadness, her companion takes her own life and Lana ultimately follows suit. Themes of death and loss are just the most obvious of Gothic elements present in Del Rey’s work. Del Rey’s songs and videos speak of the American dream, of aestheticised beauty, of being immaculately presented, well dressed and having hair “beauty queen style”, as in Summertime Sadness. She depicts an excess of hedonistic consumption and love that knows no bounds, not even death. Much of the delivery has resonance with the Gothic; performatively, visually and musically, and shows a subversion and fatalism that juxtaposes, contests and contradicts pop cultural tropes (Macfarlane). This contrary nature of the Gothic, as characterised by Botting, can provoke a sense of otherness; the uncanny, including “displays of uncontrolled passion, violent emotion or flights of fancy to portrayals of perversion or obsession” (Gothic 2). It is argued that these characteristics have been commodified into merchandisable and mainstream stylistic representations (Edwards and Monnet). Del Rey’s visual work uses this otherness and representation of repressed darkness as subversion or contestation to the bubble gum consumerist, fairy tale sexualisation of the Katy Perry brand of neo-liberal pop music that floods the mainstream (Macfarlane). Del Rey also harnesses the Gothic mode in her music, underscoring social anxieties through moments of sound which act as “a sonic imp, this music enters perception through the back door, and there it does its destabilising work” (van Elferen 137). As potential psychosocial sources of this otherness in the Gothic (Botting, Gothic), Jung argued that as a collective consciousness by repressing our darkest side, we can be dislocated from it. Further he argued that many modern ills —conflict, war, disenfranchisement, poverty— stem from culturally rationalised divisions of ‘good vs evil’ (Tacey). Providing a space for these dark sides to surface, Swirski comments that cultural product can act "as a social barometer and a cultural diagnostic tool. It identifies social trends and cultural patterns and weaves elaborate counterfactuals- literary fictions- that hang human faces on large-scale human abstractions such as society and culture" (1). Jung proposes the large-scale social abstraction; that to truly live with ourselves we need embrace the otherness inside us— to learn to live with it (Tacey). The Gothic may enable this living with, rather than living without. Jung asserts that we now rely so much on what we can touch, taste and own, that western culture has become a “creed without substance” (Tacey 32). In more concrete terms, Hoffie argues that popular media today tells stories: in terms of disaster and crisis: weather patterns: disastrous. Climate Change: disastrous. Global Financial Crisis: disastrous. Political situations: disastrous. Unemployment: disastrous. And so on. The high-pitched wail of this lament corrodes the peaks and troughs of potential emotional responsiveness; the vapours of benumbing apathy steam upwards like a bewitching spell. All stands still. Action, like in a bad dream, seems impossible. (14) This apathy in the face of crisis or disaster is well expressed in Del Rey’s work through the Gothic influenced lyrics and videos; she describes her partner as so good looking as to be “sick as cancer” in Blue Jeans and that her lover left her because he was “chasing paper”. Represented here is the social current that the need to acquire goods in late capitalism’s climate “of unrestrained consumerism” (Heine and Thakur 2) is her lover’s priority over companionship. Revealing more of the Gothic aesthetic is that her videos and songs represent this loss, they depict “disturbances of sanity and security” (Botting, Gothic 2) and thematically reflect the social climate of “disaster and crisis” (Hoffie 14). This sense of otherness through Gothic influences of the uncanny, death and melancholy have a significant impact on creative expression creating music videos that play like a kind of half remembered nightmare (Botting, Love Your Zombie; Macfarlane). In the black and white video for Blue Jeans the opening shot shows an image of Del Rey rippling and blurred, framed by circular waves of water as black as oil. The powerful Gothic aesthetic of the abyss is rendered here, “to convey the figurative meaning of a catastrophic situation seen as likely to occur whereby the individual will sink to immeasurable intellectual, ethical or moral depths” (Edwards and Monnet 9). This abyss is represented as Del Rey sings to her ghostly tattooed lover that she will love him until “the end of time” and climaxes in the suggestion that he drowns her. As in Edwards and Monnet‘s description of zombie films, Del Rey’s videos narratively “suggest that the postmodern condition is itself a form of madness that disseminates cultural trauma and erases historical memory” (8). This view is evident in contrasting Del Rey’s interview comment that she finds conversations about feminism boring (Cooper). Yet in her song delivery and lyrics she retains an ironic tone regards feminine power. This combination helps “produce a darkly funny and carnivalesque representation of sex and waste under late capitalism” (Edwards and Monnet 8). Further evidence of these ironies and distorted juxtapositions of loss and possession are evident in the song Radio. The video —a bricolage of retrospective fashion imagery— and lyrics hint at the persistent desire for goods in US western culture (Heine and Thakur). Simultaneously in her song Radio, she is corruptibly engorged by consumption and being consumed (Mulvey) as she sings that life is “sweet like cinnamon, a fucking dream on Ritalin”. The video itself represents distorted dreams hyper-real on Ritalin. Del Rey’s work speaks of an excess; the overflow of sensations, sexual excess, of buying, of having, of owning, and at the same time the absence; of loss or not knowing what to have (Botting, Love Your Zombie). Exemplified by the lyrics in What Makes Us Girls, “do I know what I want?” and again in Radio “American dreams came true somehow, I swore I’d chase until I was dead”. Increasingly it is evident that Del Rey sings “as a woman who does not know what she wants” (Vigier 5). She illustrates the “endemic narcissism” (Hoffie 15) of contemporary western culture. Del Rey therefore clearly delineates much of “the loneliness, emptiness, and alienation that results from rampant consumerism and materialism under advanced capitalism” (Edwards and Monnet 8). As a theme of this representation, Del Rey implies a sense of commodified female sexual energy through the male gaze (Mulvey), along with a sense of wasted youth and opportunity in the carnivalesque National Anthem. The video, shot as if on Super 8 film, tells the story of Del Rey’s ‘character’ married to a hedonistic style of president. It is reminiscent of the JFK story including authentic and detailed presentation of costume —especially Del Rey’s Jackie Onassis fashions— the couple posing in presidential gardens with handsome mixed-race children. Lavish lifestyles are depicted whilst the characters enjoy drinking, gambling and consumerist excess, Del Rey sings "It's a love story for the new age, For the six page, We're on a quick sick rampage, Wining and dining, Drinking and driving, Excessive buying, Overdose and dyin'". In National Anthem sexual excess is one of the strongest themes communicated. Repeatedly depicted are distinct close up shots of his hand on her thigh, and vice versa. Without being sexually explicit in itself, it is an overtly sexual reference, communicating something of sexual excess because of the sheer number of times it is highlighted in close-up shots. This links to the idea of the Gothic use of jouissance, a state of: excessive energies that burst in and beyond circuits of pleasure: intensities are read in relation to a form of subjectivity that finds itself briefly and paradoxically in moments of extreme loss. (Botting, Love Your Zombie 22) Del Rey represents these moments of loss —of herself, of her man, of her power, of her identity being subsumed by his— as intense pleasure, indicated in the video through sexual referencing. Botting argues that these excesses create anxieties; that in the pursuit of postmodern excess, of ownership, of consumption: the subject internalises the inconsistencies and contradictions of capitalism, manifesting pathologies not of privation but overabundance: stress, eating disorders, self-harming, and a range of anxieties. (Love Your Zombie 22) These anxieties are further expressed in National Anthem. Del Rey sings to her lover that he cannot keep his “pants on” and she must “hold you like a python”. The python in this tale simultaneously symbolises the exotic, erotic and dangerous entrapment by her male suitor. Edwards and Monnet argue for the Gothic monster, whose sign is further referenced as Del Rey swims with crocodiles in Blue Jeans. Here the male power, patriarchy and dominance is represented as monstrous. In the video she shares the pool with her beau yet we only see Del Rey swim and writhe with the crocodiles. Analogous of her murderous lover, this adds a powerful otherness to the scene and reinforces the symbols of threatening masculinity and impeding disaster. This expression of monstrousness creates a cathartic tension as it “puts the ‘pop’ in Pop Goth: its popularity is based on the frisson of selling simultaneous aversion from and attraction to self-destruction and cultural taboo” (Edwards and Monnet 9). In a further representation of anxieties Del Rey conforms to the sexual object persona in large part through her retro pin-up iconography —meticulous attention to costume, continuous posing and pouting— and song lyrics (Buszek). As in National Anthem her lyrics talk of devotion and male strength to protect and to “keep me safe in his bell tower”. Her videos, whilst they may show some of her strength, ultimately reside in patriarchal resolution (Mulvey). She is generally confounded by the male figures in her videos appearing to be very much alone and away from them: most notably in Blue Jeans, Born to Die and Video Games. In two cases it is suggested she is murdered by the male figures of her love. Her costume and appearance —iconic 1960’s swimsuits, pantsuits and big hairstyles in National Anthem— portray something of the retro pin-up. Buszek argues that at one time “young feminists may poke fun at the pin-up, but they do so in ways that betray affinities with, even affection for, the genre itself” (3). Del Rey simultaneously adheres to and confronts these normative gender roles, as is characteristic of the Gothic mode (Botting, Gothic). These very Gothic contradictions are also evident in Del Rey’s often ironic or mocking song delivery, undermining apparent heteronormative sexual and gender positioning. In National Anthem she sings, as if parodying women who might sincerely ask, “do you think he’ll buy me lots of diamonds?”. Her conformity is however, subverted. In Del Rey’s videos, clear evidence exists in her facial expressions where she consistently portrays Gothic elements of uncertainty, sorrow, grief and a pervading sense that she does not belong in this world (Botting, Gothic). Whilst depicted as a brooding and mourning widow —simultaneously playing the mistress luxuriating on a lion skin rug— in National Anthem Del Rey sings, “money is the anthem of success” without a smile or sense of any attachment to the lyrics. In the same song she sings “God you’re so handsome” without a trace of glee, pleasure or optimism. In the video for Blue Jeans she sings, “I will love you til the end of time” staring sorrowfully into the distance or directly at the camera. This confident yet ‘dead stare’ emphasises the overall juxtaposition of the largely positive lyrical expression, with the sorrowful facial expression and low sung notes. Del Rey signifies repeatedly that something is amiss; that the American dream is over and that even with apparent success within this sphere, there exists only emptiness and isolation (Botting, Love Your Zombie). Further contradictions exist as Lana Del Rey walks this blurred line —as is the Gothic mode— between heteronormative and ambiguous gender roles (Botting, Gothic; Edwards and Monnet). Lana Del Rey oscillates between positions of strength and independence —shown in her deadpan to-camera delivery— to that of weakness and subjugation. As she plays narrator, Del Rey symbolically reclaims some power as she retells the tragic story of Born to Die from her throne. Represented here Del Rey’s persona exerts a troubled malevolence, with two tigers calmly sat by her side: her benevolent pets, or symbols of contrived excess. She simultaneously presents the angelic —resplendent in sheer white dress and garland ‘crown’ headdress of the spurned bride in the story— and the stoic as she stares down the camera. Del Rey is powerful and in many senses threatening. At one point she draws a manicured thumbnail across her neck in a cut-throat gesture; a movement echoed later by her lover. Her character ultimately walks symbolically —and latently— to her death. She neither remedies her position as subservient, subordinate female nor revisits any kind of redemption for the excessive male dominance in her videos. The “excess is countered by greater excess” (Botting Love Your Zombie 27) and leads to otherness. In this reading of Del Rey’s work, there are representations that remain explicitly Pop Gothic, eliciting sensations of paranoia and fear, overloading her videos with these signs (Yeo). These signs elicit the otherness of the Gothic mode; expressed in visual symbols of violence, passion or obsession (Botting, Gothic). In our digital visual age, subjecting an eager viewer to this excess of signs creates the conditions for over-reading of a growing gender or consumerist paranoia, enabled by the Gothic, “paranoia stems from an excessive over-reading of signs and is a product of interpretation, misinterpretation and re-interpretation based on one’s knowledge or lack of it” (Yeo 22). Del Rey stimulates these sensations of paranoia partly through interlaying intertextual references. She does this thematically —Gothic melancholy— and pop culturally channelling Marilyn Monroe and other fashion iconography, as well as through explicit textual references, as in her most recent single Ultraviolence. In Ultraviolence, Del Rey sings “He hit me and it felt like a kiss”. Effortlessly and simultaneously she celebrates and lays bare her pain; however the intertextual reference to the violent controversy of the film A Clockwork Orange serves to aestheticise the domestic violence she describes. With Del Rey it may be that as meaning is sought amongst the texts as Macfarlane wrote about Lady Gaga, Del Rey’s “truth is ultimately irrelevant in the face of its interlayed performance” (130). Del Rey’s Gothic mode of ambiguity, of transgressed boundaries and unclear lines, shows “this ambience of perpetually deferred climax is no stranger to contemporary culture” (Hoffie 15) and may go some way to expressing something of the “lived experience of her audience” (Vigier 1). Hermes argues that in post-feminist pop culture, strong independent post-feminist women can be characterised by their ability to break traditional taboos, question or hold up for interrogation norms and traditions, but that ultimately narrative arches tend to restore the patriarchal norm. Edwards and Monnet assert that the Gothic in Pop Gothic cultural representation can become “post-race, post-sexuality, post-gender” (6). In places Del Ray exhibits this postmodernism but through the use of Gothic mode goes outside political debates and blurs clear lines of feminist discourse (Botting, Love Your Zombie). Whilst a duality in the texts exists; comments on consumerism, the emptiness of capitalist society and a suicidal expression of hopelessness, are undermined as she demonstrates conformity to subservient gender roles and her ambiguously ironic need to be “young and beautiful”. To be consumed by her man thus defines her value as an object within a consumerist neo-liberal trope (Jameson). This analysis goes some way to confirming Hermes’ assertion that in this post-feminist climate there has been a “loss of a political agenda, or the foundation for a new one, where it signposts the overcoming of unproductive old distinctions between feminist and feminine” (79). Hermes further argues, with reference to television shows Ally McBeal and Sex and the City, that presentation of female characters or personas has moved forward; the man is no longer the lone guarantor of a woman’s happiness. Yet many of the tropes in Del Rey’s work are familiar; overwhelming love for her companion equal only to the emphasis on physical appearance. Del Rey breaks taboos —she is powerful, sexual and a romantic predator, without being a demon seductress— and satirises consumerist excess and gender inequality; yet she remains sexually and politically subservient to the whim and sometimes violently expressed or implied male gaze (Mulvey). Del Rey may well represent something of Vigier’s assertion that whilst society has clear direction for the ‘success’ of women, “that real liberation and genuine satisfaction elude them” (1). In closing, there is no clear answer as to whether Del Rey is a Beauty Queen or Gothic Princess; she is neither and she is both. In Vigier’s words, “self-exploitation or self-destruction cannot be the only choices open to young women today” (13). Del Rey’s work is provocative on multiple levels. It hints at the pull of rampant consumerism and the immediacy of narcissistic desires, interlinked with contradictions which indicate the potential for social crises. 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