Добірка наукової літератури з теми "Means of folk choreographic art"

The article considers the components of national culture as theoretical foundations of pedagogical heritage and activities of the outstanding Ukrainian teacher, musicologist, ethnographer, choreographer, conductor and composerV. Verkhovynets. These include folklore, musical, choreographic and dramatic art. The essence of Ukrainian folklore as a form of social consciousness and its national peculiarities is revealed. The criteria of distribution of folklore to genres are given (by discharges, means of artistic expressiveness and the nature of their combination). Epic prose and song genres are described. The specifics of using animal tales by the teacher are revealed. The author analyzes artistic features of lyrical genres: songs (labor, charm, anthem, heroic, elegiac, humorous); musical-choreographic (domestic dance, plot dance), song and choreography (dance song, round dance, choral and play song). Dramatic genres (ceremonial games, folk games, folk drama) are described. The educational value of Ukrainian folklore, musical and choreographic art is revealed. The peculiarities of their application by V. Verkhovynets in work with student and student youth, with artistic theatrical, choral and choreographic groups are analyzed. The role of choral art in the educational process was identified and its place in the work of the teacher was determined. The results of implementation national culture’s components in its theoretical activities (creation of scientific works "Ukrainian Wedding", "Theory of Ukrainian folk dance", "Vesnyanychka") are highlighted.

The system of artistic and aesthetic education with the help of various arts, elevation of rhythm and choreography in a bright pedagogical theory and practice was laid in the early 20's of the XX century. All the accumulated experience in this field contributed to the improvement of the content of choreographic training and led to the process of separating professional art education from amateur and the creation of appropriate educational institutions for children. Choreographic creativity is one of the means of comprehensive development of students studying at the school of arts. Performing cognitive and educational functions, choreographic art is inseparable from its aesthetic function: choreography lessons promote the development of visual, auditory and motor forms of sensory and emotional perception of the world. Students learn to convey the movements of the various nature of music, its dynamics, tempo, to change the movement in connection with the change of parts of a piece of music, to begin with the beginning of music. The success of artistic and aesthetic education of children by means of choreography is due to the synthesizing nature of choreography, which combines music, rhythm, dance, fine arts, theater and plastic movements. The educational program for the specialty «Choreography» (today) is designed for eight years of study. Choreographic training of students of the choreographic department includes the following profile disciplines: classical dance, folk-stage dance, modern pop dance, gymnastics. Elective disciplines can also be chosen: historical and everyday dance, concert number staging, sports and ballroom dancing, duet dance. Related subjects: drawing, music, art history. The basis of the content of teaching choreographic art, regardless of the type and genre of choreography, is the involvement of students in active motor activity, which by nature is divided into: executive, improvisational, creative [development potential]. Students have the opportunity to realize themselves in the creative laboratories of art schools - choreographic groups and ensembles.

The development of Altai dance is closely related to the history of the Altai people. Modern Altai people, like other Turkic peoples of Southern Siberia, have not preserved traditional dances in the form in which they were performed in everyday life. The reason for this was that the art of dance has a spatially – temporal character and it is difficult to record it. It is necessary in the analysis of folk dance to use the instrumentation of all fields of art science, to apply a systemic and interdisciplinary approach. It is in this that the authors see a further research horizon. In modern conditions, when the self-consciousness of each people increases, choreographic art, as part of the spiritual culture of the people, responds to all the events of life. The relevance of this study is due to the modern trend of the revival of the national and cultural heritage of the Altai Republic. One of the pressing problems of modern choreography, its theoretical understanding, is the study of the origins of folk stage dance. The fact that lacunae exist in this area of historical and cultural knowledge is evidenced by the lack of textbooks, incomplete complexes of educational and methodological literature. Choreographers, both in the educational process and in staging practice, are faced with the need for a clear theoretical design, the development of a scientific apparatus in this matter. In folk dance, closely connected with the life and life of the people, the peculiarities of its character, feelings, temperament, manner of artistic thinking are especially pronounced, that is, a kind of “choreographic portrait of the nation” is created. Folk dance, plastically expresses ethnic historical experience, is a kind of artistic embodiment of the historical memory of the nation, and thus affects the strengthening of national identity. The importance of the theoretical understanding of folklore in the development of choreography (as in musical or decorative art) is difficult to overestimate. He is a source of ideas, expressive means, often becomes an aesthetic standard in the creative activities of the modern choreographer. The national identity of the dance culture of the people is connected with the stable historical community of language, territory, economic life, psychological warehouse, culture of life, customs and traditions. National art bears both the originality of what it reflects and how it reflects. All this is reflected in folk dance, affects the nature of plastic. From here, the dances of one people are not similar to those of another, and even one ethnic group, divided geographically, dances differ. For example, Russian folk dance has common features characteristic of Russian dance in general, but at the same time it also has bright regional features. Dance culture in geographically distant territories varies in character, manner of performance, and originality of drawing, and subject matter. The main difficulty in studying this issue is the difficulty of “translating” the plastic language into speech discourse. Hence the difficulty in fixing and writing the description of choreography. There may be discrepancies and misinterpretations of the records of researchers of the past due to the lack of an agreed methodology and categorical apparatus.

We consider a special area of didactics – teaching preschool children by means of choreographic art. We scientifically substantiate methodic support that effectively affects the development of preschool children by means of choreography, identifying, among other ways, the development of physiological and psychological qualities of this age category. We also define the principles and methods of teaching and upbringing by means of choreography in preschool education institutions. Interest in the study is also caused by the developed educational program “Basis of choreography” for preschool children, which provides for the construction of the teaching and education process in a spiral with improvement at each stage to a qualitatively new level of mastering the basics of rhythmics, the ABC of classical, folk, modern and ballroom dancing.

The Russian school of gymnastics is distinguished by the high performing skills of female athletes, a wide range of styles, the composition integrity, which is achieved with the help of choreographic training. The concept of “choreography” includes everything that relates to the art of classical, folk, historical and everyday, modern dance. Choreographic training in gymnastics is understood as a system of exercises and influence methods aimed at nurturing the motor culture of the gymnasts, at expanding their arsenal of expressive means. In addition, when practicing chore-ography, flexibility and coordination of movements develops, strengthens the musculoskeletal system, increases the density of the workout, which has a positive effect on the cardiovascular and respiratory systems of the body, contributes to the development of special endurance. Along with this, choreography lessons solve technical training problems: mastering various elements and combinations, an individual image in the composition. To create an image, expressiveness is in-dispensable, which is inextricably linked with the beauty of the movements, grace, dancing character, etc. A choreographer in rhythmic gymnastics has to work with a constant shortage of time, since choreographic training is only part of the training process. This time is not enough for the full development of the “rhythmic” gymnasts’ choreography. A characteristic feature of training in jazz gymnastics is the performing of exercises that fully activate the body’s motor system, with the participation of the greatest possible number of muscle groups. Also for those engaged in jazz gymnastics is characteristic dynamism, expression, together with wide and smooth movements. The nature of the movements is expressive. All this contributes to the development of “rhythmic” gymnasts’ choreography. Analysis of scientific literature and practical experience indicates the lack of jazz gymnastics use in the choreographic training of “rhythmic” gymnasts. Our research is related to the development of this particular direction, which determines its relevance.

The purpose of the article to research the creative work of choreographers of Ukraine, who devoted a significant role in the staging work to dances on a labor theme. Relying on a certain historical concreteness, they accurately reflected different aspects of the relationship of people and classes in work with the expressive means of choreography. Most of them reflect the artistic images of people for whom work is the first vital need, a source of creative joy, and a sacred duty to society. Therefore, the content of their works was a love of work, a creative attitude towards it, a constant desire to improve their work, to increase their contribution to the common cause. The modern world has, to some extent, changed the attitude and attitudes of people in production, as well as their attitude to work. Therefore, artists-choreographers face new tasks in creative work on the creation of dances on a labor theme, and at the same time in reproducing life problems that concern a modern working man. The research methodology is based on the use of comparative and art historical methods. This methodological approach allows us to reveal and analyze the features and significance of dances on labor topics, which were staged by famous Ukrainian choreographers in folk stage choreography. The scientific novelty of the work lies in expanding the process of the creative associative imagination of the choreographer-director, using the images of workers from the people choreography, first of all, he must study and analyze well how people, their morals, way of life, technology have changed in the new conditions of society. New life gives birth to new dances, new plots, new choreographic compositions. Conclusions. When staging a folk-stage dance on a labor theme, in which the main character is the folk image of a worker, the choreographer, combining various arts in musical-plastic synthesis and possessing all the expressive means of dance, must understand well that the image of a single worker-worker is not the traits of a real person are simply written off; this is a generalized, typified image of a certain group of working people. In some cases, these generalizations in scale may be the face of the workers of an entire large enterprise. Thanks to the artist's creative work, the artistic images of workers reflect not only the production process, their relationship in production, but also form the national consciousness of society.

This article discusses the concept of “professional skills of choreographers” as a system. The paper notes that choreography, being one of the spatio-temporal arts, is changing in accordance with the development of social relations and the requirements of today, which highlight the return to universal values, deep folk traditions and culture. Preservation of cultural values takes place in the socio-cultural sphere and is carried out by specialists in the field of choreography. The article considers the need to determine the criteria of professional skill of choreographers in the conditions of free educational institutions and institutions of culture and arts on the basis of a systematic approach, which will fix the insufficiency of old, traditional teaching methods for setting and solving new pedagogical tasks. This paper states that the definition of “professional skill” from the standpoint of a systems approach means understanding it not as a set of individual skills and techniques, but as a system that is in the unity and relationship of components determined by the general and professional development of the individual. The system approach designed in our research corresponds to didactic laws and principles, and also includes a complex of methods, forms, means of the organization and realization of educational process, organizational and methodical procedures and is directed on formation at choreographers of all components of professional skill during their training in higher education institutions. The article also emphasizes that the repeated and continuous application of the principles of a systematic approach to the formation of professional skills of choreographers will ensure a stable result in the educational and creative process of higher education institutions and cultural and arts institutions for training young professionals. improvement of choreographic education and choreographic art. Keywords: choreography, choreographer, professional training, system, system approach, professional skill, professionalism.

The article emphasizes that today the priority is given to the spiritual, moral and creative education of children of primary school age. The process of forming a highly moral personality occurs, on the one hand, in the process of family upbringing, on the other, in the course of the educational process. Cultural traditions and folk art contribute to the formation and development of personality. Folk dance, being an important choreographic direction, is one of the means that support socio-cultural traditions and folk art in society. Folk dance as a means of personality formation and creative education of children performs a number of specific functions: aesthetic, ethnocultural, self-control, self-education, self-organization, self-esteem, physical activity. These functions contribute to the development of the creative abilities of the personality of children of primary school age; arouse interest in the specifics of folk culture; provide an opportunity for a constructive release of energy; satisfy the personal needs of children for a holiday, a show, a game.

In recent decades, modern ballroom dancing as an artistic phenomenon is spreading around the world. During the twentieth century, the society formed a clear idea of ​​ballroom dancing as a folk dance (waltz, tango, etc.) and sports competitions of ten standardized ballroom dances. However, in recent times, modern ballroom dancing is increasingly fighting for the right to recognize it as an independent phenomenon of choreographic culture, given the original system of means of expression, which distinguishes it from other types of ballroom choreography (sports and household) and stage forms of folk dance. Modern society places high demands on the professional training of future teachers in the field of culture and art. Fundamental knowledge of philosophy, pedagogy and psychology, ethics and aesthetics, other sciences help to organize the educational process with its main purpose, didactic, educational, developmental tasks, traditional and interactive methods, learning technologies and organizational forms determined by the teacher in accordance with modern requirements. put forward by the «Law of Ukraine on Higher Education» and state educational standards. The process of training a specialist in the field of ballroom dancing is based on the presence of practical training, adjustment, consolidation of movements and skills of the teacher, because without in-depth analysis of body movements in various dance performances, the idea of ​​ballroom dancing Constant quality control and the creation of individual tasks will promote self-analysis of the student, his understanding and understanding of the importance of the balance between mental activity, physical and spiritual development. In the article the author explores the specifics of teaching modern ballroom dancing in higher education; defines the essence, criteria, requirements of choreographic and performing skills as a competence. The characteristics and features of the teacher-choreographer, his personal qualities are presented.

У дослідженні здійснено теоретичне узагальнення та вирішено наукове завдання щодо підготовки майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності. З’ясовано, що актуальність розглянутої проблеми підтверджується змінами вимог суспільства до особистості вчителя фізичної культури, який має бути активним, творчим, прагнути до самовдосконалення. Обґрунтовано основні принципи, закономірності й методологічні підходи підготовки майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності. Уточнено сутність поняття «підготовка майбутніх учителів фізичної культури» як процесу, що передбачає формування професійної спрямованості особистості, засвоєння нею сукупності теоретичних знань, формування практичних умінь і навичок, накопичення досвіду, результатом якого є готовність майбутніх учителів фізичної культури до професійної діяльності. Встановлено, що готовність майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності – це інтегральне особистісне утворення, що містить знання сутності народної хореографічної діяльності, характеризується зацікавленістю студентів та їх активною участю у творчій діяльності, застосуванням необхідних професійно-педагогічних умінь та навичок. Обґрунтовано структуру готовності майбутніх вчителів фізичної культури до використання засобів народного хореографічного мистецтва в єдності її компонентів: мотиваційно–ціннісного, когнітивного і діяльнісного. Ураховуючи напрацювання науковців і компонентний склад готовності майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва, визначено критерії її сформованості, зокрема: особистісний, змістовий і творчий. Диференційовано рівні (високий, середній, низький) готовності майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності. Проведено діагностику аналізованого процесу визначено й науково обґрунтовано педагогічні умови, спроектовано модель підготовки майбутніх учителів до використання засобів народного хореографічного мистецтва (лексика народного танцю, хореографічні композиції, рухи народних танців, музика). Ураховуючи результати аналізу наукової літератури, досвіду роботи закладів вищої освіти, результатів констатувального етапу експерименту щодо підготовки майбутніх учителів до використання засобів народного хореографічного мистецтва, визначено педагогічні умови: формування позитивної мотивації майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності; удосконалення змісту підготовки майбутніх учителів фізичної культури на основі впровадження міждисциплінарного спецкурсу «Танцювальний хортинг»; використання інноваційних методів навчання у підготовці майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності. Теоретично обґрунтовано авторську модель підготовки майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у єдності її складових: цільової, теоретико-методологічної, організаційно-змістової та діагностично-результативної. У цільовому блоці моделі відображено соціальне замовлення суспільства на підготовку конкурентоздатних і висококваліфікованих учителів фізичної культури, мета і завдання освітньої діяльності. Теоретико-методологічний блок містить методологічні підходи (культурологічний; компетентнісний; системний; особистісний; діяльнісний; аксіологічний (ціннісний); міждисциплінарний, етнопедагогічний) і принципи організації підготовки майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності. В організаційно-змістовому блоці моделі конкретизовано зміст, форми, методи і організацію підготовки майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності. Діагностично-результативний блок моделі репрезентує очікувані результати впровадження педагогічних умов шляхом виявлення рівнів (високий, середній, низький) готовності майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності; а також результат цього процесу – позитивну динаміку готовності майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності. За результатами формувального етапу експерименту підтверджено дієвість запропонованих педагогічних умов підготовки майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності. Його методика охоплювала сукупність комплексних і системних педагогічних заходів впливу на майбутніх учителів фізичної культури з метою поетапного формування в них усіх компонентів готовності до використання засобів народного хореографічного мистецтва у професійній діяльності. Статистичну значущість виявлених у результаті аналізу змін у рівнях готовності майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності експериментальної і контрольної груп підтверджено відповідною математичною обробкою одержаних даних за допомогою критерію кутового перетворення Фішера φ*. Доведено, що впровадження педагогічних умов підготовки майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності сприяло статистично значущим змінам. Удосконалено навчально-методичне забезпечення підготовки майбутніх учителів фізичної культури до використання засобів народного хореографічного мистецтва у професійній діяльності, зокрема розроблено: авторський спецкурс «Танцювальний хортинг»; методичні рекомендації «Ритміка і хореографія: методичні вказівки до вивчення дисципліни та самостійної роботи для студентів спеціальностей 014.11 «Середня освіта (Фізична культура)» і 017 «Фізична культура і спорт»». Для підвищення кваліфікації вчителів фізичної культури та забезпечення урізноманітнення практики викладання у закладах середньої освіти укладено методичний посібник «Методика вивчення варіативного модуля «Танцювальний хортинг» для закладів загальної середньої освіти, розроблений авторським колективом і схвалений Міністерством освіти і науки України (Протокол № 2 від 01. 07. 2019р.), варіативний модуль «Танцювальний хортинг» для загальноосвітніх навчальних закладів 10 –11 класів (рівень стандарту); навчальну програму для гуртків фізкультурно-спортивного та оздоровчо-прикладного спрямування загальної середньої освіти «Народний танець», схвалену для використання Міністерством освіти і науки України; методичний посібник для закладів загальної середньої освіти для вивчення варіативного модуля «Танцювальний хортинг», розроблений у співавторстві.
The research makes theoretical generalization and accomplishes the scientific task in training future Physical Training teachers for using means of folk choreographic art on professional activities. It is elucidated that applicability of the examined problem is justified by changes of demands of the society to the personality of a Physical Training teacher who is supposed to be active, creative, striving forself-improvement. The research substantiates the main principles, consistent patterns and methodological approaches of training future Physical Training teachers for using means of folk choreographic art in professional activities. Itclarifies the essence of the concept “training of future Physical Training teachers” as the process that provides professional orientation of a personality, their acquiring of accumulated theoretical knowledge, formation of practical skills, gaining experience resulting in readiness of future Physical Training teachers for professional activities. It is determined that readiness of future Physical Training teachers for using means of folk choreographic art in professional activities is an integral personal entity comprising knowledge of the essence of folk choreographic activity and is characterized with application of necessary professional and pedagogical skillsand means of their usage. The research substantiates the structure of readiness of future Physical Training teachers for using means of folk choreographic art in integrity of its components:motivational and axiological, cognitive and activity-oriented. Taking into consideration best practices of scientists and composition of the readiness of future Physical Training teachers for using means of folk choreographic art, there were determined criteria of its formedness including incentive, content-related and creative.There were differentiated the levels (high, medium, low) of readiness of future Physical Training teachers for using means of folk choreographic art in professional activities. There was made the diagnosis of the analyzed process,were identified and scientifically grounded pedagogical conditions and was designed the model of training future Physical Training teachers for using means of folk choreographic art (lexis of a folk dance, choreographic compositions, movements of folk dances, music). Taking into consideration the results of the analysis of scientific literature, work experience of higher educational institutions, results of the ascertaining stage of the experiment concerning training of future Physical Training teachers for using means of folk choreographic art, there were determined the following pedagogical conditions: formation of positive motivation of future Physical Training teachers for using means of folk choreographic art in their professional activities; updating of the contents of educational and instructional materials of the educational process of future Physical Training teachers and implementation of an interdisciplinary special course “Dancing khorting”; usage of innovative methods of training future Physical Training teachers for using means of choreographic art in their professional activities. There was theoretically grounded an authoring model of training futurePhysical Training teachers for using means of folk choreographic art in unity of its components: target, theoretical and methodological, organizational and content, diagnostically resultative. The target block of the model reflects social demand of the society for training competitive and highly qualified Physical Training teachers, aims and tasks of educational activities. Theoretical and methodological block comprises methodological approaches (cultural; competency-based; system; personality-oriented; activity-oriented; axiological; interdisciplinary; ethno-pedagogical) and principles of organizing the process of training future Physical Training teachers for using means of folk choreographic art in their professional activities. Organizational and content block specifies content, forms, methods and organization of training future Physical training teachers for using means of choreographic art in professional activities. Diagnostically-resultative block of the model represents the anticipated results of implementation of pedagogical conditions by identifying the levels (low, medium, high) of formednessof future Physical Training Teachers for using means of folk choreographic art in their professional activities as well as the result of this process which is positive dynamics of readiness of future Physical Training Teachers for using means of folk choreographic art in their professional activities. According to the results of the forming stage of the experiment, there was confirmed the efficacy of the suggested pedagogical conditions of training of future Physical Training teachers for using means of folk choreographic art in their professional activities. Its methodology encompasses combination of complex and system pedagogical measures of influence on future Physical Training teachers aiming at their gradual formedness of all the components of readiness for using means of folk choreographic art in their professional activities. Statistical importance of the discovered changes in the levels of formedness of readiness of future Physical Training teachers for using means of folk choreographic art in their professional activities of the experimental and reference groups was validated by corresponding mathematical processing of the received data via linear discriminant Fisher’s criterion φ*. It was proved that implementation of pedagogical conditions of training future Physical Training teachers for using means of choreographic art in their professional activities contributed to statistically significant changes. There were elaborated educational and instructional materials for training future Physical Training teachers for using means of folk choreographic art in their professional activities including the special course “Dancing khorting”; methodological recommendations “Eurhythmics and Choreography”: methodological recommendations for teaching the discipline and independent study of students of the specialty 014.11 “Secondary Education (Physical Training)” and 017 “Physical Training and Sport”. In order to improve the skills of physical education teachers and to diversify teaching practices in secondary education, a manual "Methods of studying the variable module" Dance Khorting" for institutions of secondary education was developed by the authoring team and approved by the Ministry of Education and Science of Ukraine (Minutes № 2 from 01. 07. 2019), there was worked out the variable module "Dance Khorting" for secondary schools of 10-11 grades (standard level); the curriculum for clubs of physical education and sports with health and applied orientation of general secondary education "Folk Dance" was approved for use by the Ministry of Education and Science of Ukraine; the handbook for general secondary education institutions for studying the variable module "Dance Khorting" was developed in co-authorship.

Focusing on Western theatre dance, Choreography Invisible explores the metaphysics of dances and choreographic works. It draws on a range of resources from analytic philosophy of art to develop the argument that dances are repeatable structures of action. The book also analyses the idea of the dance work in long-term historical perspective. Tracing different ways in which dances have been conceptualised across time, the book considers changing notions of authorship, fixity, persistence, and autonomy from the fifteenth century to the present day. The modern work-concept is interrogated, its relativity and contested status (particularly within contemporary dance practice) acknowledged. As the dance work disappears from contemporary discourse, what can be said about the kind of thing it is? Choreography Invisible considers the materials of dance making and the nature (and limits) of choreographic authorship. It explores issues of identity and persistence, including why distinct (and sometimes quite various) performances are still treated as performances of the same work. The book examines how dances survive through time and what it means for a dance work to be lost, considering the extent to which practices of dance reconstruction and reenactment can recuperate or reconstitute lost choreography. The focus here is dance, but the book addresses issues with wider implications for the metaphysics of art, including how the historical relativity of art practices should inflect analytic arguments about the nature of art works, and what place such works have within a broader ontology of human and natural worlds.

This chapter examines the ways in which musicians cross the four musical genres in Uzbekistan: maqom, folk music, Western art music, and popular music. Most of the women interviewed for this book interacted with all four genres at some point, and most have strong opinions about each type of practice. The diversity of styles of music present in events associated with Uzbek weddings and the ubiquity of weddings means that they act as unifiers for Tashkenters across disciplinary divides. The chapter first provides an overview of the importance of wedding music throughout Central Asia before discussing the significance of musical performance at weddings. It shows that wedding music is a vital part of the musical economy in Tashkent and is one that involves a wide range of musical styles, including most of those institutionalized in the Uzbek State Conservatory.

This book looks at the way music is used, characterised and understood in the work of Nancy, Labarthe and Badiou. Despite the differences in their philosophical-theoretical positions, they all invoke music – both directly and indirectly – to negotiate their relationship to ontology, politics, ethics and aesthetics. The book situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music ‘is’ is often assumed rather than critically re-evaluated. It argues that though music is instrumentalized by progressive thinkers as a way of shifting theoretical/philosophical paradigms, it nonetheless does so in a way that has a strong sense of continuity with previous thinking on music. Secondly, the book highlights the way in which music in its metaphysical-ontological guise is often conceived as synonymous with Western high art classical music (which is itself constructed as absolute and transcendent, and ontologically independent of its means of (re)production or context) whilst non-literate, popular, folk and world musics – on the occasions that they are addressed and not simply ignored or denigrated – are notably considered almost exclusively in terms of their social-cultural or technological contexts. Finally, the book demonstrates that much of this takes place through a simultaneous instrumentalization of gender as an organisational category for philosophy, and one which all too often has the consequence of sending women – along with music – to the beyond of pre-, inter-, or post-signification.

In the complex and contradictory process of social and ethnonational progress of Ukraine, the study of the original creative potentials of the nation becomes especially important not only in the historical and theoretical, but also in the regional aspect. In the domestic research area, we can see the appearance of studies aiming to form a special field of research – the regionics, which is designed to reveal the uniqueness and originality of the cultural environment within a particular local unit. The diverse palette of movements, gestures and poses has a strong ethnic color, reflecting national characteristics, psychological stereotypes, specific regional and local features, various perspectives of rhythmical thinking of people living in the domestic territory. The system of pictorial means is traditional and publicly available to the ethnic community as a certain sign system within the national or regional tradition. Problems and tasks of the article lie in the field of art studies, which develop issues of folk dance, the relationship between general and ethnospecific, traditional and new. In this context, the idea of relying on the historical traditions of Ukrainian spirituality as a source of self-preservation and burst for new development is increasingly put forward. All this determines the objective need for scientific analysis of authentic dance samples, which have been the bearers of certain ideas and concepts for many centuries and reflect the main features of ethnic mentality, rhythmical thinking, and «spiritual flair» of the people. On the basis of literary sources involving developments in ethnochoreology, artistic features of Volyn folk dance, its ethno-national specifics, which are manifested in both choreographic folklore and professional art, are analyzed and characterized. The aim of the work is to investigate the trends in the development of choreographic culture of Volyn and the problem of the relationship between traditions and innovations, which directly affects the creative process of the interpretation of authentic sources. The research methodology is based on the principles of an integrated approach and the application of analytical, historical, cultural and comparative-typological methods. The scientific novelty of the development is that a comprehensive art study of the original dance art of Volyn has been conducted, and its place and role in the modern spiritual and socio-cultural space has been determined. Given the dynamics of cultural and historical processes of today, it has been concluded that the choreographic art of the Volyn region continues to develop in the context of the all-Ukrainian tradition and is a part of it. The study made it possible to identify such a distinctive trend as the appeal to the original folk art and the development of newborn forms of dance on this basis. In the choreographic culture of Volyn, the abovedescribed trend reveals a complex dialectic of the interaction of tradition and innovation, with the predominance of the traditional component.

This chapter examines the idea that if art is whatever “we,” or the art cognoscenti, say it is, then there is no such thing as art. The worry that art is a sham is an old idea, and it is one that art itself has cherished. The confounding of folk ideas about what art is and what it is not is one of twentieth-century art's most flamboyant gestures and familiar clichés. But skepticism about art takes more subtle and more interesting forms. From the point of view of psychology and neuroscience, works of art trigger experience, and experience is a neurological effect. This means that the art itself does not matter, not really. Since what we like is not confined to art, the implication is clear, even if it is not usually noticed: we cannot draw a meaningful line between what is art and what is not. However, for John Dewey, experiences are made; they are transactions with the world around us; they are, in fact, exercises of a kind of criticism or critical seeing. If we follow Dewey in rejecting a psychologized conception of experience, this opens up the possibility of taking seriously a new, more positive, non-mythological conception of the connoisseur or the critic.

The authors of article review a current problem of ethno-cultural education of youth through familiarizing with art and ornamental culture, folk art and traditions of small nationalities of Outer Manchuria of the Far Eastern of Russia. The authors outline that patriotic education is indisputable problem today, and the task of revival, promotion, maintenance of national culture as well as the formation of the harmonious personality is set out by ethno-cultural education itself. It is noted that a necessary condition of this formation is ethno-cultural competences which are built in at children's age. Teaching to respect traditions begins in families, and then continues at schools, higher educational institutions and institutions of additional education, the ethno-cultural centers. Spiritual communication of national masters and their pupils is based on continuity of generations. It is emphasized that today a lot was lost in arts and crafts of Outer Manchuria. The loss of valuable knowledge as their carriers pass away, leaving this knowledge to younger generation is observed. The question of their preservation is particularly acute. The authors come to the conclusion that this question should be solved in educational institutions by means of introduction of the integrated programs that have an ethnic and art component and modern pedagogical technologies in their contents. Author’s experiment demonstrates revival of interest in folk art in children and youth, in particular, in future teachers-artists.

Chapter 5 considers the ubiquitous presence of pastoral literature and art in the late modernist milieu of The Jargon Society by examining its role and function in the work of Ian Hamilton Finlay, Thomas A. Clark, and Simon Cutts. Far from perpetuating the common perception of pastoral as an idealistic, nostalgic, or escapist aesthetic mode, Finlay, Clark, and Cutts’s use of pastoral, it is argued, demonstrate a more knowing understanding, and innovative appropriation, of its complex tradition. In particular, it is suggested that pastoral provides these poets the means for reflecting on the materiality of the poem and for articulating the poetics of the printed format that it takes. Furthermore, due to its close links with Epicureanism and its dense weave of intertextual allusion, chapter 5 shows how pastoral presents an insightful analogy for the social dynamics and collaborative vanguard spirit of the remote small press networks that Finlay, Clark, and Cutts have participated in.

Mexican muralism began as a manifestation of José Vasconcelos’ belief that beautiful environments produced more effective learning. He thought of muralism as decoration and hired his artists for that purpose. That what they created was to be Mexican was a given, but how it was to be Mexican went unspecified. The stained-glass window he commissioned from Roberto Montenegro, unveiled at the outset of the nation’s centennial celebration in 1921, took the jarabe tapatío (Mexican hat dance) as its theme. The commemorative events which followed the window’s unveiling underlined the post-revolutionary government’s intent to separate itself from the French taste associated with the dictatorship it had overthrown. Although the nation’s new leaders may not have had the means to impose a national aesthetic at the time, through its centennial celebration it pronounced itself firmly in favor of folk art as a sign of the national.

“Call and Response: American Dominican Artists and Vatican II” describes the work of fifteen American Dominican artists as each exemplifies or anticipates the priorities of the Second Vatican Council. Each artist personifies the response to a specific call: to reanimate the original scriptural and historical roots of the religious congregation, to provide leadership in liturgical renewal, to feed the spiritual hungers of the poor, to spread the gospel of justice through contemporary means of social communication. As Dominicans, these artists fulfill their vocation to preach the gospel in the multiple languages of genres ranging from design of sacred space and liturgical music to folk art, musical theatre, videography, and film. Most of the men and women chosen here to demonstrate this theme are active members of the Dominican Institute for the Arts, a national support group whose mission is to promote preaching through the arts.

My wife and I were on our way to Columbus, Ohio. After I settled on the airplane, I took out a manuscript I was working on—typical for the peripatetic obsessive chemist. Eva glanced over and asked, “What are you working on?” I said: “Oh, on this beautiful molecule.” “What is it that makes some molecules look beautiful to you?” she asked. I told her, at some length, with pictures. And her question prompted this essay. What follows is an empirical inquiry into what one subculture of scientists, chemists, call beauty. Without thinking much about it, there are molecules that an individual chemist, or the community as a whole, consider to be the objects of aesthetic admiration. Let’s explore what such molecules are, and why they are said to be beautiful. In the written discourse of scientists, in their prime and ritual form of communication, the periodical article, they’ve by and large eschewed emotional descriptors. Even ones as innocent as those indicating pleasure. So it is not easy to find overt written assertions such as “Look at this beautiful molecule X made.” One has to scan the journals for the work of the occasional courageous stylist, listen to the oral discourse of lectures, seminars, the give-and-take of a research group meeting, or look at the peripheral written record of letters of tenure evaluation, eulogies or award nominations. There, where the rhetorical setting seems to demand it, the scientist relaxes. And praises the beautiful molecule. By virtue of not being comfortable in the official literature—in the journal article, the textbook or monograph—aesthetic judgments in chemistry, largely oral, acquire the character of folk literature. To the extent that the modern-day subculture of chemists has not rationally explored the definition of beauty, these informal, subjective evaluations of aesthetic value may be inconsistent, even contradictory. They are subfield (organic chemistry, physical chemistry) dependent, much like the dialects, rituals or costumes of tribal groups. In fact the enterprise of excavating what beauty means in chemistry seems to me to have much of the nature of an anthropological investigation.

В статье рассматриваются вопросы эстетического воспитания и художественно-эстетического развития младших школьников на уроках технологии в процессе изучения основ народного искусства. Как один из положительных факторов влияния на успешность эстетического воспитания и художественно-эстетического развития младших школьников выделены ключевые стороны художественной и духовно-нравственной составляющей народного орнамента.

The article considers the role of art education in the formation of modern youth. The article reveals the importance of preserving and transmitting the traditions of culture and art of the native land to new generations through tasks and creative projects.

The article substantiates the possibility of using folk pedagogy means for the development of mnemonic processes in preschool children with mental retardation. The characteristic of the model of development of mnemonic processes in children with mental retardation by means of folk art in which methods, forms of work, kinds of children's activity and functional experts of the educational organization are defined is given

автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.