Journal articles: 'Ukrainian high technical school in exile' – Grafiati (2024)

Abstract:

The article gives a detailed analysis of the main reasons which allowed to create the Ukrainian Technical and Economic Institute of Distance Learning. It was formed by scientists, public figures of emigrants. The Institute carried out the work in Czechoslovakia and Germany in the 1930s-50s. It was being formed in the difficult conditions of the international economic crisis. In this way the socio-economic and cultural sphere of European countries, the nature and content of the activities of the diaspora scientific and educational structures were influenced on.The newly created Institute formed a system of correspondence training for agricultural workers in comparison with the Ukrainian Academy of Economics. There were found non-state independent ways of financing the educational and research process to write and publish a methodological literature, the textbooks. The students and lectures got opportunity to participate in scientific forums. Overcoming the difficulties of the occupation of Czechoslovakia during the Second World War when the activity of the Institute was meticulously controlled by the police, the Gestapo, a censorship. It braked and suspended the educational work. In spite of this fact it could not deprive Ukrainian students of the desire to study. As a result the student’s emigrant community of the High School was saved and replenished. After the end of World War II the Institute moved to the territory of Germany. The Ukrainian Technical and Economic Institute of Distance Learning was expanded. There were five high school departments, a network of technical schools, secondary and lower secondary schools and courses, training skilled personnel for agricultural and industrial production. In 1952 the Institute was relocated to the United States of America. There it functioned as a research institution.

Abstract:

In this article the author tries to objectively evaluate the establishment of a higher technical institution, namely, from the three-class real-school to the Technical Academy, which consists of two branches: technical and trade-school and real-school, the reaction of the ruling circles. The process of reorganization of this institution, for which the college of professors prepared a project based on the organization of training of Austrian technical institutions, was approved by the Ministry of Education and Religion and provided for a thorough study of theoretical and practical disciplines, and running the academy was compared to other technical academies of the monarchy. Accordingly, the main provisions of the educational procesus that were approved by the Galician Regional Council and the Austro-Hungarian Ministry of Education were approved. As the reaction of the Austrian and Polish authorities to the development of a higher technical school was largely positive, there was no such conflict situation as was observed at the University of Lviv, as it was about the establishment of the Ukrainian university and the policy of the Viennese government on the educational issue. The reaction of the Polish ruling circles towards the development of higher technical education was also calm, since the teaching languages in this institution were German and Polish, and the Poles predominated in nationality.

Abstract:

The article deals with literary and artistic life at the Kremenets Ukrainian Gymnasium named after Ivan Steshenko. On the basis of archival materials the teaching staff of the educational institution, which functioned in the territory of the Second Rzeczpospolita, was studied. The author notes that the main component of state formation in the years of the Ukrainian People's Republic was the formation and development of Ukrainian national education and culture. The first step in implementing the national school reform was the creation of conditions for the introduction of the Ukrainian language in high school and the opening of new Ukrainian gymnasia. Numerous documents stored in the State Archives of the Ternopil region (351, «Private Ukrainian Gymnasium of Joint Training in Kremenets»), reveal the activity of the educational institution and confirm its prominent role in the educational life of the Ukrainian population of Kremenets. The researcher emphasizes the pedagogical skills of the teaching staff of the Kremenets Ukrainian Gymnasium, and the understanding of the important role of education in the process of preserving national dignity and spirituality contributed to the formation of students' professional and intellectual development. In its activity, the Ukrainian gymnasium has repeatedly faced difficulties: lack of funding, lack of premises adapted properly to educational needs, lack of appropriate material and technical base, but it became the center of high culture and education. The content of the first issue of the handwritten literary and artistic magazine "Youth" was analyzed, on the basis of the memoirs of the student of the gymnasium and the editor of the almanac U. Samchuk, the names of the members of the literary circle were established. The main aspects of the cultural-artistic collaboration of the teaching staff and the students' collectives of the gymnasium with Prosvita Society are revealed. The musical activity of high school students was traced and the programs of concert performances were explored. Based on the memories of former students of the gymnasium, the repertoire of the theater circle under the direction of G. Berezovsky was considered, and the study of high school students at the School of National Dances V. Avramenko was analyzed. The names of well-known writers and public figures who studied in the Ukrainian gymnasium were established.

Abstract:

University-School clusters: Best practices and the prospects for their adaptation to Ukrainian context : the XVIII International Scientific and Practical Conference (14-th Febuary 2020, Kharkiv Univ. of Humanities “People’s Ukrainian Acad”. The article discusses the causes of problems of the educational system of Ukraine. It is noted that the main reason is the lack of interconnection between educational institutions of various levels of training and enterprises. This problem can be solved by combining the subjects of the educational system in clusters. The main tasks of the cluster are highlighted: providing high-quality school and university education, creating a system for training future specialists, attracting business partners to train personnel, and increasing the scientific and technical potential of the country's economy as a whole. Various definitions of the concept of “Educational cluster” are analyzed, two main approaches to the interpretation of the concept are identified. The main objectives of the formation of educational clusters are identified. It is noted that the clustering process in Ukraine is slow, despite the fact that the world experience of the last three decades indicates a rapid rise in leading sectors of economy through development of socially integrated systems.

Abstract:

The article highlights the need to use interactive techniques in the study of the Ukrainian language as a foreign language in order to increase the cognitive interest of foreign students in learning the language, consolidating the positive motivation for learning. Experience in teaching the Ukrainian language as a foreign language using technical means: audiovisual methods, computerized programs was confirmed. It has been reviewed a significant number of works revealing the content of innovation in the teaching of humanities in high school. The necessity of using innovative methods in the classroom to increase the effectiveness of the educational process and the level of knowledge of students is proved. The traditional and interactive techniques in the study of the Ukrainian language as a foreign language are considered. The method of language learning is defined - the use of the text in the Ukrainian language classes as the main didactic unit of instruction. The use of an interactive methodology for working on the text “searching reading” in a foreign audience is considered. The use of this technique is described on the research material, which is a small-sized literary text, and the training capabilities of the interactive method of “searching reading” are demonstrated. The work emphasizes the need to use active and interactive working methods when studying the Ukrainian language as a foreign language. It is proved that the use of an interactive technique allows you to work out group work skills, interaction, the ability to think and analyze information creatively, and form foreign students' interest in the Ukrainian language.

Abstract:

The vocational training in agricultural and technical High School should be provided and organized in a systematic, rational, effective ways. The integration of Ukrainian High School in European education considers the training of a universal specialist competent both in theoretical study and practical application of farming and engineering. The first attempts have already been done: dual education projects are encouraged by the Ministry of Education of Ukraine. The paper reports on teaching Physics through the implementation of profession based elements. Therefore, the aims of this paper are threefold: (1) to characterize the scientific knowledge in connecting theoretical and practical areas of study, to determine the basic characteristics according to standardized training programme future specialists in agriculture and engineering should have, (2) to develop the strategies for integrating the profession-based approach to teaching academic disciplines on the basis of the pedagogical experiment that involved 176 student-respondents and 41 teacher-respondents and (3) to create integrated curriculum, profession-based lecture samples and problem book in Physics for students majoring in Power Engineering in Agricultural Complex. The survey was carried out on the basis of the State Agrarian and Engineering University in Podillia, Lviv National Agrarian University and Nizhyn Agricultural University. To gain evidence about the effectiveness of implementation of profession-based material in Physics course in vocational training of future power engineers we used specially designed questionnaires, interviews and observation of behaviour. The results of the study proved that the use of profession-based material promotes the formation of student natural knowledge, as well as a wide range of practical skills and abilities. Providing the professional competence in training stimulates cognitive interest in t studying Physics as a science, helps to absorb material from other science disciplines, to develop their cognitive and creative abilities and to influence on the formation of persistent motifs to obtain knowledge from special disciplines.

Abstract:

Ukraine’s integration into global and European educational space, efficient implementation of educational reforms in this direction, the improvement of the quality of children and young people education is impossible without proper development of fundamental principles of marketing and management of educational innovations, first of all, among the Heads of New Ukrainian School. However, the absence of efficient mechanisms in Ukraine for training the above-mentioned Heads on marketing and management of educational innovations in New Ukrainian School negatively affects the quality of education therein and undermines the State education system in general. Therefore, the pressing issue at the current stage of education development in Ukraine is to determine the modalities and resources for the development of entrepreneurial and managerial competencies among the Heads of general secondary education institutions in the context of the power decentralization and establishment of consolidated territorial communities. With due regard for priority and pendency of the above-mentioned issue, its incomplete study, the principal objective of this study is to determine the key stages and describe the process of developing fundamental principles of marketing and management of educational innovations among the Heads of New Ukrainian School and measures for their efficient implementation. After performing analysis we have found that marketing and management of educational innovations of the Head of New Ukrainian School is his/her integrated, consistent and purposeful activity along with analysis and satisfaction of fundamentally new types of demand for educational services in the context of taking unconventional managerial decisions at his/her institution during such process. Moreover, with due regard to the aforementioned approach, we outlined the key stages of the fundamental principles development of marketing and management of educational innovations among the Heads of New Ukrainian School. So they include: the formation and control of specialists team towards development and implementation of educational innovations; determination of educational services market segment, demand for which needs to be satisfied; definition of criteria and conditions towards formation and satisfaction of demand for providing certain types of educational services etc. It is established that there are problems in the process of implementation of all above-mentioned stages, namely: absence of financial independence of educational institutions; the desire of the Heads of educational institutions to have legal and financial independence; positive managerial experience of the Heads of educational institutions regarding development and implementation of educational innovations etc. In order to avoid all above-mentioned problems, we have determined measures for the efficient implementation of marketing and management of educational innovations by the Heads of New Ukrainian School. They include: providing financial autonomy to educational institutions; performing professional training of the Heads of educational institutions, their deputies and teaching staff in general; forming new and improving the existing material and technical resources of educational institutions; implementing professionally oriented staff policy by the Heads of educational institutions in order to attract the most promising and young professionals to work as teachers etc. The scientific novelty of the obtained results is to determine, substantiate and analyze the key stages of fundamental principles development of marketing and management of educational innovations by the Heads of New Ukrainian School in the context of transformation of regulatory system and scientific and pedagogical approaches to children and young people education (shift in priorities and components of the development in this area of social activity). The obtained results of the research is the ground for studying and providing a practical solution of the problem regarding the formation of high-quality staffing and provision of fundamentally new educational services at educational institutions.

Abstract:

The article analyzes the issues of material and technical support of the educational process in institutions of general secondary education, the solution of which lies in the three-level subordination of educational institutions (macro-level – ministries, departments and institutions, meso-level – local executive authorities, local self-government bodies, united territorial communities, micro-level – educational institutions). It is indicated that in order to solve the tasks set at the state level to modernize educational processes, it is necessary to work together at all levels. It is proved that conceptually all issues of the organization of educational space are solved on macro-level, real ways of implementation and financing – on meso-level, and the leading role in the arrangement of specific educational premises is played by managers and teachers of educational institutions. Therefore, our research highlights the importance of training future teachers who are able to implement the concept of a New Ukrainian School in all its areas, in particular from the point of view of updating the educational space. The key aspects of forming the educational space of the New Ukrainian School in terms of comfort, safety and aesthetic appeal are identified. Recommendations are given on the color design of the interior of educational premises for primary, middle and high school students, as well as on color solutions for educational premises for various purposes. The relevance of zoning the educational environment by centers (discoveries, news, materials, communication, thematic, teachers, silence, creativity, wildlife) of educational activities of participants in the educational process is revealed. The main (permanent) and mobile (variable) zones of the training room are defined, and the approximate equipment of each of them is given. It is proved that the organization of a comfortable educational environment will contribute to the free development of the child’s creative personality. A number of requirements (ergonomics, safety, reliability and aesthetics) for school furniture are defined, as they should first of all be atropometrically appropriate and comfortable.

Abstract:

Scientific publications on physics and semiconductor technology made during 1938 – 1940 years by scientists belonging to the scientific school of Academician O.G. Goldman from the Institute of Physics of the Ukraine SSR Academy of Sciences are systematized and analyzed. It is shown that the main directions of research in this field were performed according to plans agreed with Academician O.G. Goldman before his arrest in 1938. The most important results during this time were achieved in the development and study of the properties of new semiconductor photovoltaic cells based on Ag 2 S, sensitive to the near-infrared radiation. Based on the analysis of the original publications of the time on the creation of new photovoltaic cells at the Institute of Physics of the Ukraine SSR Academy of Sciences and new photovoltaic cells based on Tl 2 S semiconductor compound in Leningrad PTI, the scientific priority of Ukrainian researchers in developing and studying the properties of photocells is proved. It is shown that in 1938 - 1939 in the Institute of Physics of the Ukraine SSR Academy of Sciences were continued initiated by Academician O.G. Goldman undertook fundamental research to elucidate the nature of the occurrence of contact high- voltage polarization during the passage of current at low temperatures in the then relevant semiconductors Cu 2 O and Se, as well as the jump of the anode potential in them. These studies later became the experimental basis for the development of the diffusion theory of rectification in metal - semiconductor structures by the future Academician of the Ukraine SSR Academy of Sciences S.I. Pekar at the Institute of Physics. Little-known facts about his life in a settlement in Kazakhstan as well as about evolution of the attitude of his former colleagues are given. The main reasons for not being able to return to scientific work at the Institute of Physics of the Ukraine SSR Academy of Sciences immediately after his liberation are clarified.

Abstract:

The integration of Ukraine into the European community is impossible without changes in the education sphere. The implementation of such projects of the European Union as "Horizon 2020” provides the collaboration between experts in Agriculture and Engineering. The results of the questionnaire conducted by “Agro Survey” agency showed the lack of student’s practical knowledge in Ukrainian Engineering and Agricultural universities. It is obvious that the quality of education in Ukrainian technical universities doesn't meet the requirements of the European labour market. Getting theoretical knowledge has no value until students can apply it for practical purposes. We suggest that a subject like Physics should be practice-oriented. If the Physics course at technical universities integrates theory with practice, students will be better prepared for their future career. The purpose of the study is to define the basic principles of professional competence as the key factor for improving the quality of future engineer’s training in the process of studying Physics. To select and interpret the factual material, concepts and theories the theoretical analysis of philosophical, psychological and pedagogical literature on research was used in the paper. The pedagogical experiment was carried out on the basis of 4 universities in different regions of Ukraine and involved 159 respondents (151 students and 8 university teachers). To determine the strategies for implementation of the profession-based tasks in Physics course we carried out specially designed questionnaires for students majoring in Agrarian Engineering and university teachers. One of the necessary conditions for future engineer training is professional orientation in studying. We suppose that to consider the relationship between a comprehensive Physics course and the disciplines of professional and practical training the in-depth analysis should be performed. First of all, it will help to determine Physics knowledge, abilities and skills that should be used in student’s further professional training. Second of all, it will enable the most effective use of engineering-based tasks in Physics classes. However, knowledge of basic Engineering and General Theoretical subjects is not applied by the students of Technical High School for a long-period of university study. The results of the survey have shown that studying major subjects at a later stage doesn’t motivate students to learn Natural Science and Engineering disciplines. We can conclude that profession-based tasks in Physics class contribute to the formation of a system of natural knowledge, practical skills and abilities. They stimulate the students’ cognitive interest in Physics as a science, help to better absorb material of other disciplines, develop creative abilities and influence the formation of persistent motifs for obtaining knowledge of professional disciplines.

Abstract:

The article substantiates the relevance of the problem of forming a linguistic and cultural personality at a higher school, although this problem is not new. Obviously, the strategies used before were either ineffective or not very actively implemented into practice. A closer look at the problem allows actualizing it, finding those aspects that were obviously not taken into account, and, therefore, focusing on them. Emphasis is put on the subjects that have the strongest potential in the formation of a linguistic and cultural personality. It is emphasized that the majority of the citizens of our state and young people, including those who were formed by our secondary school and later become students of higher schools, unfortunately have a misconception about the functions of their native language: they believe that its main function is communicative, they do not sometimes know about others. Hence the lack of understanding of the role of language in the formation of consciousness, intelligence, and worldview in general, and these factors are of global importance for understanding the security, strategic, and nation-building significance of the native language. The common phenomenon of diglossia is emphasized, the reasons caused it are pointed out, and the features of a high-level linguistic and cultural personality that everyone can develop in themselves to avoid diglossic situations are characterized. Such phenomena as jargon and slang are widespread among young people, and most of those who use them are convinced that only Russian vocabulary can be used in these forms of language. The Ukrainian language, developing as a living organism, serves the needs of different strata of the population, has a rich vocabulary and virtually unlimited possibilities, can undoubtedly be used to create surzhik and slang concepts - this is a normal process of language development, indicating its versatility and unlimited capacity. Emphasis is placed on the formation of a linguistic and cultural personality while teaching technical disciplines.

Abstract:

Purpose: To develop a new concept of laboratory support for learners at different levels of education to maintain a high education quality in conditions of limited opportunities, such as lockdown, lack of funding, etc. Design/methodology/approach: To create a new concept, the practical experience of school teachers, educators of technical colleges and universities, research workers, as well as experience of scientists in the educational field published in open information' sources was taken into account. The development of a new concept was carried out from 2014 to 2016, and its implementation, introduction into the educational process, and possible ways to solve technical and organizational difficulties from 2016 to the present. In the last year, special attention was paid to distance learning. Findings: The development and the first practical steps to implement the new concept of updating the laboratory support of educational institutions clearly demonstrate of its practical implementation' feasibility. Positive consequences from the implementation were identified as constant improvement of laboratory equipment, increase in the educators’ level, transformation of virtual distance learning based on lectures and videos into real learning with "live" visual demonstration of physical, chemical, biological and other processes and experimental research. As a recommendation, should wish that at the state level to recommend the implementation of this approach and to propose some legal mechanisms to overcome identified problems. Research limitations/implications: The present study was conducted for Ukrainian educational institutions with the involvement of foreign students from different countries studying in Ukraine. Practical implications: The introduction of a new concept into the educational process in countries with a weak economy will improve the educational quality and reduce the cost of creating laboratory support. Originality/value: Equipment should not only be a teaching tool, but also a teaching subject.

Abstract:

Distance learning is the process of acquiring knowledge, abilities, skills and methods of human cognitive activity, it occurs mainly through the indirect interaction of participants in the educational process distant from each other in a specialized environment, it functions on the basis of modern psychological, pedagogical and information and communication technologies. In today’s world, distance learning is a must. This was shown by the existing COVID-19 pandemic. The purpose of our work was to present teaching methods at the Department of Orthodontics of the Ukrainian Medical Dental Academy and to determine the advantages and disadvantages of distance education. To present theoretical and practically oriented content, organize independent work and control knowledge during quarantine, the possibilities of distance learning were used using the Google Classroom web service and using the ZOOM platform, Google-meet, which made it possible to use video, photographic materials, tables, control and diagnostic models, panoramic and other images, orthodontic appliances, orthodontic instruments. Distance learning technology is flexible than traditional. This is its advantage. It is aimed at those who study, creates a comfortable environment for the applicant for higher education to master the material 24 hours a day, 7 days a week. Distance learning allows you to move away from the traditional system of teaching educational material. However, this teaching methodology requires a high level of teacher training. The teacher must have modern pedagogical and information technologies and be psychologically ready to work with applicants for education in a new educational and cognitive environment. The distance form of education must correspond to the methods of teaching in higher medical school. So, the material and technical clinical base of the Department of Orthodontics of the UMCA allows you to provide high-quality online training. But the spread of COVID-19 leads to day-to-day changes in all spheres of life, including healthcare, and the education system.

Abstract:

Background. For the last 25 years videoart in Ukraine had passed a maturation from the elementary experimental video practices of the end of the 80's to the full-identical art form. Like most of the USSR innovative art trends, videoart in Ukraine paved it's way through the formal endorsem*nt's resistance and had been creating owing to the enthusiasm and persistence of individual artists and single artistic formations. Ukrainian videoart had developed according to all the fine art growth's features of socialistic period; however was established and concepted for the first time in Lviv as a phenomenon in the 1990-s what had generated a brand-new pleiad of cultural actors and had influence on the alternative artistic expression mediums of that time. Objectives. The incipience and developnent of Lviv videoart appears to be the main goal, applicating specifics of the new media style in individual artistic identification for single artists and Lviv artistic enviroment in general; reconstitution of the expression of new visual ideas made via video camera among social and historical “perestroika” context. Videoart role definition in the artistic expression of the totalitarian unrest period. Methods. Achieving the goals of the article was implemented via empirical methods: comparison, observation, description of the historical facts, which preceded videoart foundation throughout Ukraine. Theoretical methods were founded for the analysis of videoart, it’s role and position in art studies historiography of Lviv focus. Also deductive chronology playbacking method, what gave an opportunity to represent a whole artistic climate where Lviv videoart was established. Classification method divided artistic formations into groups based on artistic and stylistic criterion. Results. The research results confirmed the idea of independent Lviv videoart existance with it’s own establishing and development history. Research, based on Andrij Boyarov artworks of the end of 80’s, showed up comprehensive data that videoart had not been positioned as additional medium for single artist’s creations diluting; combination of photo and video was and remains the main activity for a certain range of artists thus proving that emergence of videoart genre had not turned into spontaneous way or copied from West European processes but rather appeared to be totally required by socio-political environment, the artist and the viewer to see the video reflections in galleries. Formed chronology showed up a special linkages between the appearance of brand-new art experiments, alternative practices and youth movements, festivals and artistic formations that had established the very first Ukrainian galleries and had placed curator practices unprecedented neither for artists nor for viewers. These were the “Tsenter Europy”, “Try Krapky”, “Dzyga” galleries, where the exhibitions “Thing Theatre or thing ecology”, “Defloration” and “Congress of Ukrainian Physicians Exhibition” took place at the time of turning point of Ukraine’s 90’s. The “Vyvykh” Festival had become a so-called Vesuvius for massive Lviv non-conformism vector, which explored a number of brand-new names of experimental art and videoart: Alfred Maksymenko, Andrij Boyarov, Hanna Kuts, Viktor Dovhaljuk, Ihor Podolchak, Serhiy Petljuk and others. During the consideration it was revealed that Lviv videoart meant to be different from the one in the other Ukrainian videoart centers due to it “pedagogical” aspect, namely it was the only center, where the experience sharing for the young generation truly existed, that had been caused by reservation problem and communication absence between the videoartists and a range of author generations. The originator of the first videoart in Ukraine - Alfred Maksymenko - now works as a pedagogue at Lviv National Academy of Arts, whose Studies generated a number of videoartists, carring on Lviv Classic School traditions and creating original stylistic indications. Conclusions. This social-informational research has shown preconditions for a brand-new art genre establishment - the 90’s Lviv videoart and the fact that it was not born in a way of “playing” or “flirtation” with some kind of new imported technical equipment but had it’s own conceptual way instead; got an opportunity to continue previous visual practices and expand the frontiers of visual influences on viewer. The analysis of Lviv videoart formation concludes the research and brings up the subject for further researches: establishing of high-quality art analysis of single artists working in videoart for already more than 25 years. A totally special stylistic manner of creating video images had emerged during that time period, which echoes with traditional Lviv Classic School painting manner and brand-new mediums born and dictated by alternative angles and technical implementation of videoart.

Abstract:

The article deals with the problem of successful usage of foreign language teaching progressive methods for university students of technical specialties in Ukraine. The major didactic functions (cognitive, developing, research, communicative) by means of computer technologies in the learning process are determined. The effectiveness and the expediency of innovative approaches usage in the process of foreign language study to improve the quality of students’ education are analyzed. The ways of informational technology application in the system of Ukrainian higher education are characterized. The effectiveness of learning foreign languages through innovative approaches and devices is analyzed and the characteristics of modern multimedia technologies in foreign language teaching are clarified. The restructuring of high school requires not only revision and improvement of general education according to new challenges of modern society but it also requires the change of educational processes methods. According to this it is important and necessary to use multimedia educational technologies. In the process of learning, multimedia education primarily presumes the usage of videos in the work with different computer programmes as well as making special presentations on the topic given through the usage of technically oriented audio and video information. The usage of computers in the process of teaching foreign languages increases the intensity of educational process. The factor determining successful application of informational technologies is teacher’s work with scientific and methodical support. The examples of multimedia technology usage are shown. The attention is paid to the multimedia presentation, its characteristic features and peculiarities. Computers greatly empower teacher’s abilities, promotes individualized studying, students’ individual activities and allows to adapt educational process to individual characteristics of students.

Abstract:

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.

Abstract:

Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for his music and its successful functioning in the pedagogical process, in particular, in children’s music schools. The purpose and objectives of this study – to consider the artistic and aesthetic orientation of the creative heritage by M. Karminskyi and identify its distinctive features, focusing on the genre and style aspect of his works for children and youth and their methodological significance in pedagogical practice. Research methods are based on general scientific principles of systematization and generalization. The most important role was played by the interdisciplinary approach to the analysis of the composer’s creative heritage from the standpoint not only of musicology, but also of history, culturology, and pedagogy. For reflecting the spiritual atmosphere, where the composer’s talent was formed, the historicalbiographical approach was of great importance. Research results. The way of formation of M. Karminskyi’s individuality, development of his innate musical inclinations to successful realization of talent is crowned with creation of compositions of various genres, both largescale – partitas, operas, music to performances, and chamber – vocal-choral and instrumental miniatures, among which the piano music for children and youth audiences appealed to the style of Ukrainian folklore occupies a significant place. Ukrainian literature, in particular, works by Taras Shevchenko, Lesia Ukrainka, and Ivan Franko, which were carefully studied by M. V. Karminskyi as a student of the Faculty of Journalism at V. N. Karazin Kharkiv State University, had a significant influence on the formation of the composer’s worldview and aesthetic priorities. Probably, it was the love for literature that determined the programmatic narrative nature of M. Karminskyi’s compositions. However, the love for music itself prevailed: M. Karminskyi continued his studies at the Kharkiv Conservatory in the class of Professor D. Klebanov possessed in perfection by the musical artistic heritage and was able to transfer creatively this knowledge to students. M. Karminskyi’s later applied the skills acquired from him in his work. In those years, the Kharkiv School of Composition stood out among other music unions of Ukraine with a high level of creative competence: composers sought their own way and artistic individuality, creating a modern musical language. However, even in this highly educated environment, the personal potential of Mark Veniaminovich, his highly artistic taste and erudition rose. Mark Veniaminovich is sometimes called “the knight of the country of childhood” thanks to his brilliant compositions for children. The composer speaks to the children’s audience with the help of intonations and artistic techniques available to the child’s worldview, but he does not adapt to the child, but teaches him to develop thinking, show strong emotions. Pupils like program music with interesting content that evokes familiar associations, specific ideas. Therefore, in many of his works M. Karminskyi turns to the literary basis, clear concrete and dynamic images, heightened emotionality (“Steppe, steppe...”, “Autumn Day”, “Lyrical intermezzo”, etc.). Such approach motivates children not to perform works abstractly and mechanically, but to bring their own emotions and understandings into them. M. Karminskyi uses clear three-part or couplet forms that contain repetition (the plays “Favorite Tale”, “Ancient History”, “Merry Trumpeter”, etc.), he is characterized by conciseness of melodic phrases. The texture is convenient for children’s hands: parallel intervals, counterpointing voices, organ points of the lower voice, melodic figurations and harmonic degrees sustained in the middle line, register dynamics are used. These and other techniques promote students’ technical capabilities by developing mobility and finger strength. Continuing the traditions of the Ukrainian singing school, M. Karminskyi pays a lot of attention to the techniques of cantilena performance, forcing students to master the art of playing the pedal, which requires careful sound control. Piano ensembles, unique in their poetic beauty, were created by the composer at the end of his not too long life. These plays use themes from the music to the play “Robin Hood”, and the musical images of the pieces are extremely clear even in the names: “Old Grandfather Kohl”, “Lady Tambourine”, “Road to the Temple”, “Crazy Waltz”. M. Karminskyi, feeling a passionate interest in theatrical action with its playful moments and the task of embodying specific images, created music for performances. The radio production “Robin Hood” with the participation of the country’s leading artists, based on the poems of the famous Scottish poet R. Burns translated by S. Marshak and imbued with romantic sublimity, lyricism and sincerity, received a special resonance; it contains expressive melodies that are quickly memorized. In 1978, the company “Melody” released a stereo disc “Robin Hood” with a recording of this radio show. The variety of artistic tasks of the ensemble music of M. Kaminskyi leads to the formation of a variety of pianistic skills. The predominance of playful, moving images in plays develops motor technic and synchronization in performing. The meter and the rhythm of the works are complicated using the measures 6/8, 9/8 or size change in one work: 2/4; 3/4; again 2/4; then 4/4. This technique allows you to transmit movement and free breath of a musical phrase. Karminskyi actively uses chords from fourths and fifths intervals characterized the repertoire of Ukrainian bandura players. Conclusions. The composer gave the children a lot of strength and inspiration, creating music for them in accordance with high moral and ethical criteria and filled with vivid emotions, theatricality, and visible concrete imagery. Miniatures for the children’s choir, the master’s piano pieces have a high spiritual meaning and are among the best achievements of Ukrainian children’s musical literature. The piano music of M. Karminskyi is marked by a tendency to search for a new national style: the composer does not quote folk melodies, creating original musical images in the spirit of folklore. The multi-genre works of M. Karminskyi embody the eternal themes of good and evil, love and death, betrayal and fidelity with the emotional strength inherent in his music, demonstrating the composer’s deep erudition and human decency, originality, uniqueness of his personality and his talent.

Abstract:

Problem statement. Conductor is considered to be one of the most prestigious occupation in musical field, so there has always been a certain interest to its history. But, despite a large amount of literature, there are no musicologist’s scientific works, with the systematized and generalized materials on training conducting staff in Ukraine in the 1920s – 1940s. This is partly due to a shortage of primary documents at a difficult historical period: most of them were destroyed by the employees of state institutions before being evacuated behind the lines during the Second World War; the other part was burned down during the hostilities; the third one was lost in the territories temporarily occupied by the fascists. The most important information was restored in the postwar years on the basis of personal documents of the musicians and memoirs of the contemporaries. The names of many other talented performers, who were not high ranked in the hierarchy of Ukraine musical culture, were forgotten. Research and publications analysis. Dealing with this article, the author relied on the research of three scientists. For example, the episode devoted to the history of the Kuban State Conservatory is based on the materials of the book by V. A. Frolkin, PhD in musicology, Professor of Piano Department of Krasnodar University of Culture and Arts. (Frolkin, 2006 : 70–89). The Kharkov period of Ya. Rosenstein’s activity is based on the article by E. M. Shchelkanovtseva, PhD in musicology, Department of Orchestral String Instrument of I. P. Kotlyarevsky Kharkov National University of Arts (Shchelkanovtseva, 1992 : 178–179), as well as the memoirs of conductor S. S. Feldman (Feldman, 2006). Ya. Rosenstein activities in T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR was described in research of Yu. A. Stanishevsky – Doctor in musicology, Professor. (Stanishevsky, 1981 : 533–534). The objective of this article is to create Ya. Rosenstein’s complete and non-biased biography, to analyze various aspects of his activity, and, as a result, to revive the name of a talented musician who was at the forefront of Ukraine musical pedagogy. This is the urgency and novelty of this study. Core material. Yakov A. Rosenstein (1887–1946) – a cello player, conductor, professor. In1907–1912 he studied at St. Petersburg Conservatory specializing in cello. Until February 1917, he had served as a cello player in the Royal orchestra of the Imperial Mariinskyi Theater. During the Civil War, he moved to Yekaterinodar (Krasnodar), where in 1918–1919 he was a director of Russian Musical Society Conservatory. October 1, 1920 witnessed the opening of Kuban State Conservatory. The university was funded from the budget of the People’s Commissariat for Education, so the training of all students was free. Ya. Rosenstein taught the cello class. But at the end of 1921, the Kuban Conservatory was deprived of state funding, and in summer of 1922 the university was reorganized into the Kuban Higher Technical School. (Frolkin, 2006 : 74–89). In autumn of 1923, Ya. Rosenstein moved to Kharkov, where he was a cello player in Russian State Opera orchestra. Later Ya. Rosenstein became a theater conductor. Also, he was engaged in pedagogical activity: in 1925 he became a dean of the instrumental faculty of Kharkov State Higher Music and Drama Courses, and in 1926 he became the head of the courses. According to E. M. Shchelkanovtseva, since 1927, Ya. Rosenstein had been teaching at the Music and Drama Institute (currently – I. P. Kotlyarevsky Kharkov National University of Arts) – Professor of cello class, chamber ensemble, orchestra class, conducting; in 1929 he became an Academic Director. (Shchelkanovtseva, 1992 : 179). Opera-symphonic conducting class at Kharkov Music and Drama Institute, which was opened in autumn of 1927, is a merit of Ya. Rosenstein. During 8 years, he had been training such conductors as: P. Ya. Balenko, M. P. Budyansky, I. I. Vymer, F. M. Dolgova, K. L. Doroshenko, D. L. Klebanov, B. T. Kozhevnikov, V. N. Nakhabin, V. S. Tolba and others. In 1926–1927, the Orchestra of Unemployed Musicians in Kharkov was transformed into the First State Symphony Orchestra of All-Ukrainian Radio Committee, which in autumn of 1929 was integrated with the Ukrainian Philharmonic. In 1929–1932 Ya. Rosenstein acted as a chief conductor. Then he was replaced by German Adler, a graduate of German Academy of Music and Performing Arts in Prague, and a world-famous conductor. In 1937, this musical group was the base for creation the State Symphony Orchestra of the Ukrainian SSR in Kiev (nowadays the National Symphony Orchestra of Ukraine). (Pluzhnikov, 2016 : 358). In 1935–1941 and 1944–1946 Ya. Rosenstein was a conductor of T. G. Shevchenko Kiev Academic Opera and Ballet Theater of the Ukrainian SSR. According to S. S. Feldman, there he brilliantly showed himself in the ballet performances “Swan Lake” and “Sleeping Beauty” by P. Tchaikovsky, “The Fountain of Bakhchisarai” and “The Prisoner of the Caucasus” by B. Asafiev, “Lilaea” by K. Dankevich and “Raymonda” by A. Glazunov (Feldman, 2009 : 102). In summer of 1941 the War began, and the theater troupe was evacuated to Ufa. In 1942–1944 the United Ukrainian State Opera and Ballet Theater was created on the basis of the Kharkov and Kiev theaters in Irkutsk. More than 650,000 people visited 785 performances conducted by N. D. Pokrovsky, Ya. A. Rosenstein and V. S. Tolba in Krasnoyarsk, Irkutsk and other cities! In June 1944, the theater troupe returned to Kyiv, and in 1946 Ya. Rosenstein died. He was buried at Baykove cemetery in Kyiv. Conclusion. The creative personality of Ya. A. Rosenstein, a cello player, conductor, teacher, one of the organizers of the First State Symphony Orchestra in Ukraine and the creators of the Kharkov school of orchestra conducting, deserves more attention on behalf of the scientists, musicians and all non-indifferent people. There is hope that Ya. A. Rosenstein’s memory will not be forgotten, and the name of this talented and noble person will take its rightful place in the annals of Ukraine and Russian musical culture.

Abstract:

Background. Rapidness of information flows of contemporary life enforces to concentrate a significant amount of information in small formats. This fact meaningfully increases social and practical significance, cultural and aesthetic value of miniature genres, in particularly, in the musical art. The violin miniature is a historically developed, typologically settled genre of professional musical creativity designed to solo music-making in the conditions of chamber or concert performance. Relevance of the genre is also due to its active inclusion in the programs of competitions and festivals. To the violin miniature genre the such outstanding masters of past were addressing as N. Paganini, H. Wieniawski, P. Tchaikovsky, E. Elgar, J. Sibelius, F. Kreisler, as well as the Ukrainian composers – M. Lysenko, V. Kosenko, L. Revutskyi, B. Liatoshynskyi, etc. True renaissance of violin miniature in Ukraine began in the 70’s of the XX century: about 30 miniatures were created by Yu. Ishchenko, I. Karabits, E. Stankovich, O. Kiva, V. hom*oliaka, L. Bulhakov, S. Kolobkov and others. At the end of the XX century the Ukrainian artists written about a dozen miniatures and cycles, among the authors ‒ V. Sylvestrov, M. Skoryk, M. Karminskyi, K. Dominchen, H. Havrylets, O. Krasotov, V. Manyk. The 2000s years for the violin miniature genre became even more productive. Let us note the creative achievements of M. Skoryk, O. Hnatovska, I. Albova and M. Stetsiun. The miniatures by famous Kharkiv composer Liudmila Shukailo, who created a cycle of 10 plays, were an important contribution to the violin repertoire. The objective of the article is to consider the peculiarities of the genre interpretation of violin miniatures in the L. Shukailo’s creativity on the example of her collection «10 pieces for violin and piano». At the present stage the study of the genre of Ukrainian violin miniature is insufficient; in particular, L. Shukaylo’s miniatures were not considered by researchers. The methodological basis of this study is the concept of the genre of miniature by K. Zenkin (1997), E. Nazaikinskyi (2009), N. Ryabukhа (2004), L. Sviridovska (2007), N. Govar (2013), O. Harhai (2013), V. Zaranskyi (2009). The research results. Miniature is a genre that embodies a variety of lyrical emotions and subtle nuances of mental states and also presupposes clearness of a form, laconism and concentration of thought, the elegance of means of artistic expression and the chamber conditions for performance. The latter contribute to the passing of depth of its content and special intimacy of utterance. In the works of L. Shukailo all the characteristics of miniature genre are the means realization the composer’s artistic idea. There are a lot of miniatures for various instruments among her works. This genre attracts the artist with its exceptional feature: it is necessary to outline a specific laconic image without «blurring». Working on the violin miniature, the author seeks to achieve maximum effects by minimal means, taking into account the performing convenience and mobility of the chamber type of music. Creativity by Kharkiv composer Liudmila Shukailo, who for several decades has been working in the Kharkiv Middle Special Music School, attracts the attention of performers and art critics. All the time communicating with children, the composer creates a lot of various pieces for young performers. Thus, the original author’s solution demonstrates in the collection «10 pieces for violin and piano» formed on the principle of «school of playing», that is the increasing of degree of complexity. Most of the pieces have the names corresponding to different style traditions: Baroque (Passacalia), Romanticism (Elegy, Scherzino, Waltz, Intermezzo, Burlesque), some of plays are emphasized separately – «Ballet scene», «Variations» and «Spring duet». It is the contrast of genre attributes that promotes to join diverse miniatures into a cycle. The author traditionally prefers the genre of descriptive (programmed) miniature, because in it, in her opinion, it is easier to specify the content and create the vivid image that is very important for young musicians. The first piece of the collection, “Passacalia”, is stylized in the same named genre (moderate tempo, triple meter, elements of basso ostinato, etc.), however L. Shukailo uses the method of stylization creatively: she interprets this genre in the context of a new round of historical and stylistic development, with the maximum introduction of individual musical thinking. The piece “Ballet scene” marked by bright theatricality. Its waltz theme has a cross-cutting development, creates the illusion of whirling; the accents and underscores of weak shares add to it vividness and capriciousness. The piece “Oh, verbo, verbo” (“Oh, willow, willow”) is the miniature variations on the theme of Ukrainian folk song. The first variation resembles a waltz, the second – the Ukrainian dance “Cossack” with its characteristic rhythm and the third associates with the genre of Toccata due to monotonous rapid movement. The romantic quasi-vocal “Spring duet”, a musical dialogue of violin and piano, requires the ability to «sing» on the instrument, to fill the sound with a beautiful timbre. The next piece, “Allegro”, corresponds to its tempo and characteristic designation. The choice of the tonality of the miniature (“bright” C major), “grateful” for a violinist, adds a festive flavor and reveals the author’s goal: to address the music to beginners, taking into account their perception and performance capabilities. The monotony of the “canter” technical figurations, which is maintained throughout the play, unites “Allegro” with the etude and makes it possible to use it as an etude. Semantics of the next piece, “Elegies” in D minor, fully corresponds to the genre of the sad song. Its lyrical and psychological aura outlines the multifaceted image and its tense development. The contrast to the antecedent sad mood the piece “Scherzino” presents – the miniature with a characteristic for children’s music name. The stroke of staccato, the alternation of ascending and descending melodic movements, unexpected stops create a certain comic effect. Unfolded “Waltz” marked by virtuoso-improvisational character, continues the cycle. Song and recitation “Intermezzo” is characterized by the complication of the figurative and semantic aspects. The miniature has a pronounced lyrical and dramatic orientation. Modern harmonious style is manifested in the extension of tonal-harmonic relations, the introduction of alterated tones, tone oppositions, daring shifts-modulations. The piece is marked by equality of violin and piano parts, which seize the initiative from each other creating the continuity of musical development. The last miniature – “Burlesque”, with Rondo features, performs the final function in the cycle. The piece has virtuosic orientation – fast paced, rapid passages, pizzicato, dynamic contrasts and the solo Cadenza with bright loud double notes. Interpretation of this miniature can be complete only in terms of technical assimilation of all previous material. “Burlesque”, in fact, is a test of skill and can be recommended for performances in open concerts. Conclusions. Violin miniature is a conceptual genre of musical culture, performing self-sufficient artistic function like to other genres and being able to reflect the psychology of an author’s personality. In the Ukrainian composers creativity, the genre of violin miniatures is lifted on great artistic high, as the “10 pieces for violin and piano” by L. Shukailo evidenced, which are characterized by melodicism, clarity and persuasiveness of the creative idea, the logics of the musical language. The composer uses the program descriptiveness, genre stylization and folklore sources expressing in music her own emotions, impressions and feelings. Poetic imagery that fascinates with emotion and extremely romanticized reproduction of reality, as well as interesting findings in the field of form and expressive means give the works of self-containment and artistic value. L. Shukailo’s cycle “10 pieces for violin and piano” can be recommended both, for performing as an indivisible work and for using of the pieces in isolation with a methodical purpose. The cycle is aimed at the formation of not only the technical skills, but also on the possession of the specifics of adequate reproduction of the figurative and semantic content of a musical work. Prospects. The questions of scientific understanding of the individual composer’s style of L. Shukailo require the more detailed musicological analysis. Some of the observations obtained in this article can be applied in the study of a wider range of problems of modern violin art, in particular, the use of the latest composer techniques in the genre of violin miniatures. Further development of the theme will also contribute to the enrichment of the teaching and methodical repertoire in the genre of violin miniature, to identify its new genre varieties and to attract its best samples to the violin performance.

Abstract:

In the article, the author reveals fragments of the study about repressions of the 1920s and 1930s against the churches, as an institution of society, against the clergy, church services, active parishioners of one of the settlements in Sumy Region(Dubovichi village). Self-identification and peaceful living under the laws of honor in the socialist regime led to the destruction of employed citizens and clergy who lived by vocation and by traditional moral principles. After all, it was they - conscious citizens, intellectuals, who "threaten" the terrorist plot of the Bolshevik authorities on the territory of Ukraine. Special attention was to the citizens who supported Tikhonovsk and Ukrainian autocephalous Orthodox churches. The parishioners of these churches were in principle affirmative. "Tikhonovtsi" decided religious uncompromising, "autocephalous" were nationalistic. Those and others did not perceive the Bolsheviks. Both opposed the political regime. Everyone who was in contact or was attached to these groups was prosecuted and arrested with special severity. Under the repressions were relatives and neighbors. Blackmail of single persons and family, voluminous and falsification documents, taking hostages. That was happening with all who was not controlled during the formation of the Soviet power. Over the 50 people from Dubovichi village and their families fell under the pressure of repressions. Most of them were sentenced to death. Just few of them returned from exile and settled in distant places from their native village. Dubovichi village has a centuries-long history. Best known it is in the religious environment through the icon of Dubovytsi's Mother of God. The miraculous image of the Virgin was discovered in the middle of the 17th century. And the glory about it spread far beyond the then Russian empire. Church leaders from Kiev, from Chernigov gathered at the procession during the celebrations of 1861. The pilgrimage to the icon in Dubovich was round-the-year. Copies from the list of the Virgin Mary Dubovitskaya were in the St. Sophia Cathedral of Kyiv. Information about the icon was printed in church calendars and metropolitan directories of pilgrims. The grand stone church of the Nativity of the Virgin in 1777 in the center of the village, it was the pease of architectural art that was rare in the countryside. As evidenced by foreign sources, the parish church was kind of fortress. It was surrounded by a brick fence with four towers in corners. The entrance to the churchyard was through the gates that were under the bell. There were burials around the temple. Marble monuments were raised on the graves. Icons in the temple were in different kyots, precious stones. Church property included a number of priest clothing, silverware. In the village there were three temples. This provided the opportunity for the parish to have six priests, several clerks and psalms in the state. All were destroyed until 1940, despite the architectural value of the builders and the ancients. Dubovichi parish numbered more than three thousand people at the beginning of the twentieth century. It was glorified by the numerous, beautiful choir, active citizens. The church library was more than 2000 volumes. The priests performed not only the need. Archpriest Gusakovsky was the head of refuge. The village choir numbered more than 60 people. There was a spiritual orchestra, a theater group, a hut-reading room, a rural school and a parochial school, and a folk school in the village. Also there was paramedic station, veterinarian, pharmacy. The hospital unit numbered up to 10 beds. Tolerance and high moral consciousness were typical for the people of Dubovichi. Not only Orthodox lived in the village . Archival documents indicate that the daughter of the priest was offended with the Catholic. Jews lived in Dubovichi. The social group was represented. There were Gypsies among the participants of the school. Those were posterity of that who survived and took good place in life of theatre. Able to analyze falsifications of the campaign to destroy the Dubovichi parish, the destruction of church buildings- works of architectural art. Information from directories, archival documents and old people's buildings allows us to reconstruct conditionally events of those times. The author for the first time highlights this page of the Dubovichi life. As well as information from recently declassified documents from archives of higher authorities on the repressed residents of Dubovichi village. Human losses, disadvantaged families, tales of reletives about Soviet Union. All this make a mosaic of the historical stratum of our country. The coverage of this problem somehow outlines the massive crimes of Soviet politics in the 1920's and 1930's. It is a tribute to those who sacredly keep memories of the repressed.

Abstract:

Background. The history of theater criticism in Ukraine is a poorly understood science area. The process of formation and development of Theater Studies education is even less learned page of our theatrical process. Currently we have mainly short background history descriptions of the single theatrical departments than the reproduction of the whole process. Kharkiv Theater Institute (now the Kharkiv National University of Arts named after I. P. Kotlyarevsky) is highlighted in several publications that date back to the jubilee dates of the educational institution (the articles by N. Logvinova (1992 [17]), H. Botunova (2007 [9]), H. Botunova in collaboration with I. Lobanova (2017 [8]) and with I. Lobanova and Yu. Kovalenko (2012 [6]). Taking into account the reference and informational nature of these writings, the question of the methodology of teaching specialized disciplines, in particular, theatrical criticism, practically is not considered. The aim of this study is to analyze the process of formation of theater studies education within the boundaries of Kharkiv theatrical school, to determine the main methodological principles of theater criticism teaching in the context of the theatrical process development in general and the theatrical critical thought in particular, and also to consider the objective and subjective factors that were influenced on the schooling process in theatrical criticism area. Results. The development of theatrical criticism is directly related to the development of theatrical art. The active theatrical movement of the 1920’s has produced a great wave of theatrical criticism that was unprecedented in Ukrainian journalism. Among the factors that influenced the formation of the institute of theater criticism is the development of theater education in Kharkiv of the same period. And the most important thing is that authoritative theorists and practitioners have been involved in the organization and functioning of these educational institutions, teaching historical and theoretical disciplines: I. Turkeltaub, A. Bielecki, Ya. Mamontov, I. Shevchenko, M. Voronyi. It would seem that the logic of the theatrical process and theater education and the level of theatrical-critical thought should one way or another lead to the creation of the theatrical faculty (department) in one of Kharkiv’s higher educational institutions. However, the devastating defeat of the Ukrainian theater during the theatrical disputes of the late 1920’s and the further physical elimination of both theatrical artists and the chroniclers of their work, did not leave a trace of the rise and diversity of critical thought. The repressive processes also did not walked past and the sphere of theater education. In 1934, the Musical-Theater Institute in Kharkiv was closed. The rapid stage of development of all areas of theatrical art, which could lead to the establishment of a vocational school, was artificially torn and slowed down the process of establishing Theater Studies education on a certain time. A new stage in the history of Kharkiv’s theatrical criticism, which ultimately led to the establishment of vocational education, began after the liberation of the city in 1944, when the faculty of Theater Studies was opened at the Kharkiv Theater Institute due to initiative of S. Ignatov and A. Pletniov. Historical and theoretical disciplines were dominated in the theatre theorist’ education. Also there were a few subjects provides skills and ability to analyze drama, performance, directing and acting, the modern theatrical process: “Introduction to Theater Studies”, “Theatrical Criticism Workshop”, “Theory of Literature and Drama”. However, their teaching was extremely unsystematic. In search of the “Criticism” teacher the institute appealed to one of the most experienced theatrical reviewers V. Morsky, who had more than 20 years of experience in journalism at that time. This discipline did not have a clear developed program, work plan, methodological development, there was not even a well-known name, and it appears as “Reviewer Practicum”, “Theater Criticism”, “Theatrical Criticism Workshop”. V. Morsky was an active journalist and his method of teaching was based primarily on personal experience and everyday practice. The most important thing that was instilled to students is the need to write and publish. At the classes, students discussed and analyzed Kharkiv theaters’ performances, write reviews and read them directly in class. If there were not enough theatrical events, the lector chose music concerts and new movies to analyze. Active and gifted students were attracted to the review work in the newspaper “Krasnoye Znamya”, where he headed the Department of Culture, and they were beginning be published from a student’s times. He taught his students to analyze first the aesthetic and artistic qualities of artistic works, and not ideological and sociological components. An equally important factor in the young critics’ formation was the newspaper theatrical journalism, which was at a high professional level in Kharkiv in the late 1940’s. The theater life in the city was regularly covered in newspapers by V. Morsky, G. Gelfandbein, L. Zhadanov (L. Livsh*ts) and B. Milyavsky. The prime of theatrical and generally artistic life, the rise of local journalism did not last long. The new repressive campaign in the USSR in 1946–1949 held in the field of science, literature, culture and the art. During these campaigns, a pleiad of highly talented teachers was fired from the institute or they quitted. It destroyed major of Kharkiv journalism in the 1940’s, including the first teacher of theatrical critique V. Morsky that was arrested and soon died in exile. Theatrical criticism as a profession for many years has lost its position of influence on the artistic process and disappeared from the Institute schedule in the function of classroom discipline for some time. Significantly decreased the amount of wishing to restock the ranks of “rootless cosmopolitans” (so they were reviled by official propaganda); the competition for Theater Studies department was virtually non-existent. Conclusions. Formation of the Theater Studies Department, developing teaching methods of one of the core subjects – theater criticism – at the Kharkiv Theater Institute took place against a background of difficult conditions of historical reality saturated ideological and political repression. This fact has not contributed to the development of theater criticism. National Theater Studies must go a long way to recreate an objective picture of the development of Ukrainian theatrical criticism, to define its stages and trends, fill in the lacunae in the biographies of scientists and formulate the originality of the methodology each of them.

Abstract:

Problem statement. The pedagogical activity of the Merited Artist of Ukraine, Professor O. I. Nazarenko is more than fifty years old. The maestro’s name will become history of the Department of Folk Instruments of Kharkiv I. P. Kotliarevskyi National University of Arts. It is impossible to disregard O. Nazarenko’s creative achievements and multifaceted activity, first, because his enormous contribution to the development of the academic accordion in Kharkiv and his authority reaches far beyond Kharkiv and Ukraine. Well-known modern accordionists and orchestral ensembles perform the composer’s works with great respect and persistence. The artist’s pedagogical activity, his talent as a teacher and mentor was found itself in students who achieved outstanding success thanks to high-quality professional training. The object of the research is O. Nazarenko’s musical activity. The aim is to determine characteristic features of O. Nazarenko’s authorial style in the context of Kharkiv Accordion School traditions. Methodology. This study is based on historical, genre and stylystic as well as interpretive method. The methodological basis is formed by the works of Yu. Diachenko (2012), M. Pliushenko (2017), I. Sniedkov (2016), A. Strilets (2018), which partly appeal to O. Nazarenko’s work and the history of Kharkiv Accordion School. Presenting the main material. One of the brightest representatives of Kharkiv Accordion School is the teacher, performer, composer and conductor O. I. Nazarenko. In the context of Kharkiv Accordion School formation and development, O. Nazarenko was remembered for his networking with famous Kharkiv composers. From 1967 to 1987 O. Nazarenko performed many authorial programs of such Kharkiv composers as V. Bibik, F.Bogdanov, O. Zhuk, V. Zolotukhin, D. Klebanov, I. Kovach, T. Kravtsov, G. Finarovsky, S. Faintukh and N. Yukhnovska. Working as a solo accordionist and accompanist, O. Nazarenko gained richer experience and recognition of stage colleagues; he accompanied the People’s Artists of the USSR such as Ye. Chervoniuk, M. Manoilo, Yu. Bogatykov and N. Surzhina, People’s and Merited Artists of Ukraine as V. Arkanova, A. Rezilova, Yu. Ivanov and others. While setting piano vocal works by Kharkiv composers, O. Nazarenko made editions for accordion and enriched the texture of his own works in every possible way. Materials of arrangements, settings, transcriptions were periodically published in such publishing houses’ collections as “Music” (Moscow), “Musical Ukraine” (Kyiv). We cannot ignore the maestro’s creative contacts with V. Podgorny, who influenced his further activity and made a contributive mark on the path of his professional development. Mastering the technique of influencing the listener through emotional and expressive accordion playing was important for O. Nazarenko. V. Podgorny who possessed a brilliant technique of working with sound, was mentioned by O. Nazarenko as “the artist of sound”. It was communication and creative contact with V.Podgorny that enriched the professional background and stimulation of the composer’s talents in young Olexandr’s soul. O. Nazarenko’s specific performing and composing style was formed under V. Podgorny’s influence also. As one of his brightest students, he collaborated with him, was interested in new creative ideas and imitated the teacher’s manner. O. Nazarenko’s work is more connected with singing and folklore; Ukrainian, Russian, Gypsy, Georgian and Latin American motives became the basis of his musical compositions. Based on folk and authorial melodies, he created largescale complex structures with vivid musical images. A typical feature of topics for adaptation, transcription and arrangement was the idea of taking unfamiliar works, which no one had previously addressed to. This attracts performers to search for their own interpretations without imitating already known performer interpretations. Many works in the maestro’s interpretation are characterized by a waltz manner. During his life, from childhood, all the memories and experiences accumulated and became the basis for many of his works. According to his words, he actively attended music evenings in a village club and school after the war, where he could listen to modern waltz-like music by Soviet composers. The first author’s melody, “Elegy Waltz”, which represents lyrics and romantic images as memories, was a dedication to his brother Volodymyr. The author comments that it was his brother who showed him waltz and taught him to dance it in his childhood. Many accordion works by O. Nazarenko are characterized by symphonic principles of development, which are also used in fantasia genre. In this genre, a dramatic and deeply psychological work interpreting Russian folk song “Thin Rowan” was written, which absorbed the emotions of the author’s inner experiences (being a dedication to his mother Alexandra Monakova). Being an excellent accordionist, he is aware of the instrument’s possibilities and implements this knowledge in working on musical works. He pays much attention to image intonation and the specifics of imitation of other instruments. His performance methods were based on the works by S. Richter, E. Hilels, L. Kohan, Ya. Heifetz and many other maestros. These ideas gave him, as a performer, an extremely subtle feeling of timbre. In the manner of his performance, he made the audience not only listen, but also hear, which is very important for perception of musical work. O. I. Nazarenko managed to raise a large number of students for many years of pedagogical activity. They represent his name not only in Ukraine but also abroad. Conclusions. O. Nazarenko’s authorial style is original and multifaceted, it consists of composition, performance and pedagogical activities. The authorial style formation was greatly influenced by Kharkiv cultural environment, creative connection with V. Podgorny and performing traditions of Kharkiv Accordion School in general. O. Nazarenko’s original compositional style is manifested in the genres of transcription, fantasia and arrangement of folk songs for accordion. O. Nazarenko’s works include a number of ones written and dedicated to people who left a great dramatic imprint in his life. Works dedicated to his mother, father, wife and brother are a musical word where dramatic images emphasize the expression and specificity of addressing close people. Due to the bright timbres, rich texture and registers, the composer’s musical compositions become symphonic, going far beyond the basic thematic material. Based on folk and authorial melodies, he created large-scale complex structures with vivid musical images. O. Nazarenko’s works require a performer’s high level of technical training, an intellectual approach to understanding all the musical text details, fastidious work on the sound. These components of performing skills are inherent in the maestro as a representative of Kharkiv Accordion School.

Abstract:

Formulation of the problem. The modern choral art as never requires a theoretical understanding of the artistic experience accumulated over the years of its existence and enriched with the latest advances in this field. The bloom of the high professional choral performance in Ukraine shows, first of all, the active development of choral culture in practical terms, but unfortunately, in many theoretical aspects of the choral art there are significant gaps. Since in Ukraine a galaxy of dedicated experts in the field of the choral work function fruitfully, among whom the territory of the Slobozhanshchina region can boast the well-known name of Prokopov Sergiy Mykolayevych – the Honoured Art Worker of Ukraine, Professor, Head of the Choral Conducting Department of Kharkiv National University of Arts named after I. P. Kotlyarevsky, the coverage of the concept of the creative universalism of the famous Ukrainian conductor-choirmaster seems to be of a high relevance. The purpose of the article is to study a wide range of artistic activities of S. Prokopov in the aspect of identifying various vectors of creativity of this talented artist: his performances, scientific works and pedagogical guides, musical and public activities. Analysis of the recent research and publications. The study of each of the directions of the creative activities of the artist is not possible in isolation from the consideration of the main trends in the modern choral art. Ukrainian musicology is on the way of rethinking the classical methodological recommendations and finding new theoretical and practical approaches to the study of many aspects of the choral activity. The recent publications by such scholars as L. Parkhomenko, A. Lashchenko, L. Kiyanovska, A. Martyniuk, L. Yarosevich, O. Batovska, Y. Voskoboinikova and many others confirm the relevance of issues related to the genesis and the further development of the choral art. Research methods. The system analysis of the universe of the creative personality of the artist is the methodological basis of the study. Presenting the main material. Sergiy Prokopov is a well-known conductor-choirmaster, prominent teacher and musical-public figure in Ukraine and abroad. After many years of study, under the influence of the outstanding masters of the conducting-choral art A. A. Miroshnikova, E. P. Kudryavtseva, V. O. Chernushenko and A. V. Mikhailov the main methodological principles of teaching professional disciplines finally formed, and they found their embodiment in the further professional pedagogical activity of S. M. Prokopov. The research of the performing-pedagogical vector of the master’s work made it possible to analyse one of the most important spheres of activity of S. M. Prokopov – the work with children’s choir collectives. We should note that the sound of the choir called “The Spring Voices” is distinguished by the high quality of ensemble work, the most charming features of the children’s voice – ease, charm, and flying. The repertoire of the choir is extremely wide and diverse from the Renaissance to contemporary domestic and foreign compositions, different in genres and subjects, which is quite difficult for the amateur team. That is why the professional recognition of the children’s choir under the guidance of S. M. Prokopov is confirmed by many honorary awards of national and international competitions and choral festivals. Following the traditions of Kharkiv choral school, Prokopov S. M., while heading the choir of the students of the Choral Conducting Department of KhNUA named after I. P. Kotlyarevsky, greatly changed not only the repertoire policy of the choir, but also revised the correlation of teaching-educational and concert-performing tasks. The choral class is not only a solid base platform for the professional education of future choirmasters-specialists. The choir of students, under the guidance of S. M. Prokopov, is a full-fledged performing collective, whose power makes it possible to perform compositions of great forms. Working on the sound of the choir, at the stage of a warm-up, he relies on the artistic principles of the sound production, which represent a peculiar emotional and psychological setting for the further professional communication between the choirmaster and the singers. Such accentuation of attention on the complex of psychological tasks during the performance of vocal-choral exercises helps to combine and correlate the emotional and psychological state and technical capabilities of the singers with subsequent performing intentions. The key to the work of the master is a special relation to the interaction of the language and musical intonation. Expressiveness as a conscious singing is impossible without the right intonation, a clear pronunciation, an emotional exaltation in the process of performing a choral composition. The pedagogical activity of S. M. Prokopov continues in the class on conducting and relies on both the methodical foundations, theoretical positions, the generalizations of outstanding teachers, choirmasters, symphony conductors and many years of the own experience of the teacher, the conductor, and the conductor-choirmaster. Actually, his pedagogical style is characterized by a high level of culture, sophisticated taste, and deep knowledge of the specialty and in the related fields of both the humanities and social sciences. The sphere of interests of scientific activity of S. М. Prokopov covers various areas of the choral art. The scientific and methodical works by S. M. Prokopov outlines a range of issues related to the problems of the choral performance, the choral pedagogy and the educational process of formation of conductors-choirmasters at different stages of development. Professor S. M. Prokopov’s active and responsible life position prompts him for the public-education activities. Holding the post of the Head of the Kharkiv branch of the Association called “The Choir Society named after M. Leontovych”, on his initiative the significant competitions and festivals of the choral art take place, and they are known not only within Ukraine but also abroad. Sergiy Mykolayevych presents reports on the relevant issues of the choral art at international and all-Ukrainian conferences, conducts numerous master classes, lectures and concerts. Conclusions and the perspectives of the further research. Sergiy Prokopov is an example of a universal musician. To highlight one, the main of the directions of his activities is impossible. The teacher, choral conductor, scientist, talented organizer and musical-public figure, his work is a vivid example of creative and personal enthusiasm. The prospect of the further development of the topic is related to the in-depth study of the various spectra of S. M. Prokopov’s creative activities, his personal contribution to the development of Ukrainian culture.

Abstract:

Background. From the second half of the XX century to the present time in the musical culture of the world we observe significant influence of jazz. New trends, styles, genres is appeared due to the interaction of jazz and academic music. Thus, at the beginning of the XX century such phenomenon of musical art rises as a synthesis of features of jazz and pop music. This process leads to the renewal of musical language, experimentation, the emergence of new styles and trends. All mentioned above are largely inherent in variety-jazz accordion art, which has a significant spread from the early XX century. The formation of the European accordion variety-jazz direction is connected, for the most part, with the genre orientation of the works of a certain region. In France it was a musette. In Germany there were virtuoso fantasies, variations on the themes of popular song and dance melodies, waltzes. In Italy – tarantella, samba, tango. “In the first decades of the XX century accordion began to be widely used in the USA. From beginning of popularization, it was emigrants from Italy”, notes M. Imkhanitskiy (2004: 304–305). In Ukraine, the stage of the emergence of variety-jazz style is associated with the assimilation of the European and American traditions of variety and jazz accordion art. The purpose of the article is to determine the main genre and style levels of the embodiment of variety-jazz style in the works of V. Vlasov. Presenting main material. The integration process of Ukrainian accordion art is significantly separated from the world performing movement. The variety of stylistic vectors (variety, jazz, pop-jazz) and the high level of professionalism of the performers significantly affect the current trends of variety-jazz direction. Victor Vlasov is one of the personalities who has a great influence on the modern process of development of variety-jazz direction in its national specifics. The introduction of professional technical-expressive and artistic components in his compositions is due to the author’s impeccable knowledge of the possibilities of accordion. The embodiment of jazz stylystics is achieved in V. Vlasov’s works by specific means: clear and pulsating metrorhythm, special melody and harmony, jazz phrasing, swinging, uniqueness of articulation. First, V. Vlasov uses rhythmic-factural models, typical of certain genres that were not previously involved in accordion practice. Secondly, he uses quasi-improvisations – the improvisational sections on a harmonious basis taked from main thematic material; third, imitations of the sound of an ensemble in different “timbre layers”, sonor effects in the form of various blows on parts of the instrument, on the floor, etc., mimicing the sound of percussion instruments. Fourth, V. Vlasov often uses swinging. Analyzing the compositional style of V. Vlasov, we find its characteristic features: at the level of the genre subsystem, the composer uses traditional genres of variety music; the level of the evolutionary subsystem is characterized by stylistic diversity (academic, avant-garde, electronic, variety-jazz trends); ethnic metasystem in the artist’s work is represented by the folklore basis of the works, the involvement of traditional genres of certain regions (“Vesnyanka”, “Kolyadka”, “Tarantella”, “Tango”, “Bossa Nova”); historical metasystem is manifested in the use of historically formed jazz styles (New Orleans’ jazz, bebop, swing, cool, etc.). The article considers the embodiment of variety-jazz style on the example of one of the parts of the V. Vlasov’s cycle “Variety-jazz compositions”, the piece “Basso ostinato”. The relevance of the study of this work is connected with its considerable popularity among performers of different countries, the active use of the work by participants in various competitions of accordionists. Using a simple compositional element filled with altered chords, the author creates a clear harmonious and formative grid as a jazz square. Synthesizing the academic form of musical art (Basso ostinato) with variety-jazz style, V. Vlasov created a pattern of his own compositional style. V. Vlasov’s works, in general, have a clear form, mostly there are complex three-part or variational compositions, but his variety-jazz style has its own specifics: ● use of altered chord; ● involvement of noise effects, specific accordion strokes and techniques; ● quasi-improvisations based on the principles of jazz music. Conclusions. V. Vlasov’s works have their influence on the development of variety-jazz music today. He remains one of the first composers to integrate and develop at a high professional level variety-jazz direction in the domestic accordion art. The composer represents new (to accordion-art) jazz performing techniques, novelty of musical ideas and their textural and intonational embodiment. Manifestation of variety-jazz style of V. Vlasov is a set of personal means of expression. Thus, the artist’s works are characterized by the use of altered chords, the involvement of noise effects (“percussion”), specific accordion strokes and techniques; introduction of quasi-improvisations based on the principles of jazz music. V. Vlasov’s individual and stylistic searches determine the characteristic features of the author’s school as a stylistic phenomenon in the development of domestic and European accordion art. Stylistic orientation of V. Vlasov’s compositions – New Orleans jazz, swing, bee-bop, cool, progressive – presents a wide range of genres and styles.

Abstract:

In the article the problem of quality of preparation of specialists on tourism in the context of higher education. Found that the problem of the quality of training of specialists in tourism, hotel, and restaurant business in numerous studies abroad suggests mandatory inclusion into the educational process use of different curricula, the formation of motivation of learning, considering the requirements of employers. Many studies have revealed the motives of students of various countries to encourage them to study on the programmed for hospitality and tourism. Most of the foreign studies have found out what motivates students to choose and study in the hotel business and tourism program. In foreign studies, the influence of gender features and the course of students' professional training on the differences in the motivation of training for Scientific and Technological Progress were also studied. Study of the motivation of studying in foreign studies is aimed at studying the motives and advantages of students from different countries, who have chosen to study the program scientific and technological revolution and Scientific and Technological Progress. We studied the importance of the motives “educational and cognitive”, “professional”, “working”, “obtaining a diploma”, “prestige of the university”, “approval of others”, “legal aspects”, “material support” for students of the specialty “Tourism”. It confirmed that the motives of educational and professional activity of students of the specialty "Tourism" are related to the success of specialized disciplines. Statistically significant gender differences were identified in the success of the training of junior high school students in practice and in all the specialized disciplines studied. It is shown that the most significant motives of professional training for Ukrainian students of the specialty "Tourism" are the motive "working", "professional" motives and the motive "obtaining a diploma". Studying the gender differences of students in motivation for studying in the field showed that the motive of "material supply" and "professional" motives are significant for Ukrainian men, and the motives for "obtaining a diploma" and "Prestige of Higher Educational Institutions" are significant for Ukrainian women.

Abstract:

The article is written on the basis of the materials collected in the preparation of the publication "The Biobibliographic Dictionary of the Scientists of Kharkov University. T. 3. Phylologists XX – the early of the 21st century. Part 1. Faculty of Philology. Department of Ukrainian Studies of Philosophy Faculty", which is prepared by the Central Scientific Library of the V. N. Karazin Kharkov National University. In the article, based on the biographies of scientists of the first half of the twentieth century, summarized information about repression at the philological faculty of the Kharkov University (and high school formed from it), mainly in the 1920s-1930s and the late 1940s. The names of the repressed scientists are given in the chronology of events and on the departments. The destiny of each scientist (shooting up, exile, dismissal from work) is discribed. The general statistics of repressed philologists is given. Most scholars were repressed in 1933–1934, 1937–1939, after the war persecution was in 1946–1949. Losses at the Faculty of Philology of this time: 20 people were perished (among them 15 shot, 5 died at the expiration), among the other 11 slaves 8 returned alive, in 3 further fate is unknown; 9 were dismissed from work (some of them later recovered); of the 4 people, who worked at the university in the aforementioned years, the further fate is unknown. Let's list the names of the most famous scientists, who were repressed: Ya. A. Denisov (shot), M. M. Durnovo (shot), G. A. Il'inskij (shot), M. G. Johansen (shot), N. A. Kaganovich (shot), V. D. Koryak (shot), G. O. Kostyuk (exiled), O. M. Leites (dismissed from work), L. Ya. Livsh*ts (exiled), M. F. Nakonechniy (dismissed from work), K. T. Nimchinov (shot), A. S. Paniv (shot), M. Yu. Panchenko (shot), M. A. Plevako (killed in exile), V. L. Polischuk (shot), P. G. Ritter (died in the prison hospital), O. N. Sinyavsky (shot) et al.

Abstract:

The purpose of the article is to study the history of the implementation of geographic information technologies in the process of teaching geography at school, the readiness of Ukrainian schools in this process and comparing the achievements of Ukrainian and foreign education systems regarding the use of geographic information technologies in the process of teaching geography. Main material. The use of geographic information systems (GIS) during the teaching of geography at school is an issue that is essential for the further development of education. The challenges faced by society, such as the consequences of scientific and technological progress, globalization, climate change, require the training of specialists who will cope with the tasks that the modern world dictates. To train specialists of a new generation, a specialized education is needed, which will give students new content with the help of new teaching methods. Geography as an educational discipline that develops spatial thinking and understanding of the world as a complex system is at the forefront of changes in the educational process. Therefore, in order for students to effectively use material adapted to the conditions of the modern world at geography classes, new methods are needed to help this problem be solved, and above all, the use of geographic information systems. As the analysis of foreign experience and our study on the use of GIS in the educational process with geography showed, the world faces common problems: overloading students, inability (unwillingness) of teachers to learn new technologies, financial and communication problems. In order to introduce geoinformatics methods and skills in working with GIS into the educational process from geography, it is necessary to have, in our opinion, at least four components: 1) the legislative base; 2) use of the best world experience; 3) training of specialist geographers competent in the field of work with geographic information systems; 4) appropriate software and hardware for schools to work with GIS. Conclusions and further research. Polls and experiments of domestic and foreign researchers have shown the effectiveness of GIS as a method in teaching geography in terms of increasing the academic performance of students and increasing the level of assimilation of knowledge. The SWOT analysis of the use of geographic information systems as educational technologies showed problems common to Ukrainian and foreign schools, such as the high cost of software, the lack or lack of technical equipment, and insufficient teacher training. At the same time, the results of the survey indicate that abroad the biggest problem is the lack of motivation of teachers, while in Ukraine the main obstacle is the high cost of logistics. It is promising to conduct a survey of geography teachers at the all-Ukrainian level in order to obtain a complete picture regarding the willingness to introduce the GS in the educational process, in particular on geography.

Abstract:

As the ball dropped on 1999, is it any wonder that No Doubt played, “It’s the End of the World as We Know It” by R.E.M. live on MTV? Any discussion of the Nineties—and its pinnacle moment, Y2K—requires a discussion of both the cover and the glitch, two performative and technological enactments that fomented the collapse between author-reader and user-machine that has, twenty years later, become normalised in today’s Post Internet culture. By staging failure and inviting the audience to participate, the glitch and the cover call into question the original and the origin story. This breakdown of normative borders has prompted the convergence of previously demarcated media, genres, and cultures, a constellation from which to recognise a stochastic hybrid form. The Cover as a Revelation of Collaborative MurmurBefore Sean Parker collaborated with Shawn Fanning to launch Napster on 1 June 1999, networked file distribution existed as cumbersome text-based programs like Internet Relay Chat and Usenet, servers which resembled bulletin boards comprising multiple categories of digitally ripped files. Napster’s simple interface, its advanced search filters, and its focus on music and audio files fostered a peer-to-peer network that became the fastest growing website in history, registering 80 million users in less than two years.In harnessing the transgressive power of the Internet to force a new mode of content sharing, Napster forced traditional providers to rethink what constitutes “content” at a moment which prefigures our current phenomena of “produsage” (Bruns) and the vast popularity of user-generated content. At stake is not just the democratisation of art but troubling the very idea of intellectual property, which is to say, the very concept of ownership.Long before the Internet was re-routed from military servers and then mainstreamed, Michel Foucault understood the efficacy of anonymous interactions on the level of literature, imagining a culture where discourse would circulate without any need for an author. But what he was asking in 1969 is something we can better answer today, because it seems less germane to call into question the need for an author in a culture in which everyone is writing, producing, and reproducing text, and more effective to think about re-evaluating the notion of a single author, or what it means to write by yourself. One would have to testify to the particular medium we have at our disposal, the Internet’s ultimate permissibility, its provocations for collaboration and co-creation. One would have to surrender the idea that authors own anything besides our will to keep producing, and our desire for change; and to modulate means to resist without negating, to alter without omitting, to enable something new to come forward; the unfolding of the text into the anonymity of a murmur.We should remind ourselves that “to author” all the way down to its Latin roots signifies advising, witnessing, and transferring. We should be reminded that to author something means to forget the act of saying “I,” to forget it or to make it recede in the background in service of the other or others, on behalf of a community. The de-centralisation of Web development and programming initiated by Napster inform a poetics of relation, an always-open structure in which, as Édouard Glissant said, “the creator of a text is effaced, or rather, is done away with, to be revealed in the texture of his creation” (25). When a solid melts, it reveals something always underneath, something at the bottom, something inside—something new and something that was always already there. A cover, too, is both a revival and a reworking, an update and an interpretation, a retrospective tribute and a re-version that looks toward the future. In performing the new, the original as singular is called into question, replaced by an increasingly fetishised copy made up of and made by multiples.Authorial Effacement and the Exigency of the ErrorY2K, otherwise known as the Millennium Bug, was a coding problem, an abbreviation made to save memory space which would disrupt computers during the transition from 1999 to 2000, when it was feared that the new year would become literally unrecognisable. After an estimated $300 billion in upgraded hardware and software was spent to make computers Y2K-compliant, something more extraordinary than global network collapse occurred as midnight struck: nothing.But what if the machine admits the possibility of accident? Implicit in the admission of any accident is the disclosure of a new condition—something to be heard, to happen, from the Greek ad-cadere, which means to fall. In this drop into non-repetition, the glitch actualises an idea about authorship that necessitates multi-user collaboration; the curtain falls only to reveal the hidden face of technology, which becomes, ultimately, instructions for its re-programming. And even as it deviates, the new form is liable to become mainstreamed into a new fashion. “Glitch’s inherently critical moment(um)” (Menkman 8) indicates this potential for technological self-insurgence, while suggesting the broader cultural collapse of generic markers and hierarchies, and its ensuing flow into authorial fluidity.This feeling of shock, this move “towards the ruins of destructed meaning” (Menkman 29) inherent in any encounter with the glitch, forecasted not the immediate horror of Y2K, but the delayed disasters of 9/11, Hurricane Katrina, Deepwater Horizon Oil Spill, Indian Ocean tsunami, Sichuan Province earthquake, global financial crisis, and two international wars that would all follow within the next nine years. If, as Menkman asserts, the glitch, in representing a loss of self-control “captures the machine revealing itself” (30), what also surfaces is the tipping point that edges us toward a new becoming—not only the inevitability of surrender between machine and user, but their reversibility. Just as crowds stood, transfixed before midnight of the new millennium in anticipation of the error, or its exigency, it’s always the glitch I wait for; it’s always the glitch I aim to re-create, as if on command. The accidental revelation, or the machine breaking through to show us its insides. Like the P2P network that Napster introduced to culture, every glitch produces feedback, a category of noise (Shannon) influencing the machine’s future behaviour whereby potential users might return the transmission.Re-Orienting the Bizarre in Fantasy and FictionIt is in the fantasy of dreams, and their residual leakage into everyday life, evidenced so often in David Lynch’s Twin Peaks, where we can locate a similar authorial agency. The cult Nineties psycho-noir, and its discontinuous return twenty-six years later, provoke us into reconsidering the science of sleep as the art of fiction, assembling an alternative, interactive discourse from found material.The turning in and turning into in dreams is often described as an encounter with the “bizarre,” a word which indicates our lack of understanding about the peculiar processes that normally happen inside our heads. Dreams are inherently and primarily bizarre, Allan J. Hobson argues, because during REM sleep, our noradrenergic and serotonergic systems do not modulate the activated brain, as they do in waking. “The cerebral cortex and hippocampus cannot function in their usual oriented and linear logical way,” Hobson writes, “but instead create odd and remote associations” (71). But is it, in fact, that our dreams are “bizarre” or is it that the model itself is faulty—a precept premised on the normative, its dependency upon generalisation and reducibility—what is bizarre if not the ordinary modulations that occur in everyday life?Recall Foucault’s interest not in what a dream means but what a dream does. How it rematerialises in the waking world and its basis in and effect on imagination. Recall recollection itself, or Erin J. Wamsley’s “Dreaming and Offline Memory Consolidation.” “A ‘function’ for dreaming,” Wamsley writes, “hinges on the difficult question of whether conscious experience in general serves any function” (433). And to think about the dream as a specific mode of experience related to a specific theory of knowledge is to think about a specific form of revelation. It is this revelation, this becoming or coming-to-be, that makes the connection to crowd-sourced content production explicit—dreams serve as an audition or dress rehearsal in which new learning experiences with others are incorporated into the unconscious so that they might be used for production in the waking world. Bert O. States elaborates, linking the function of the dream with the function of the fiction writer “who makes models of the world that carry the imprint and structure of our various concerns. And it does this by using real people, or ‘scraps’ of other people, as the instruments of hypothetical facts” (28). Four out of ten characters in a dream are strangers, according to Calvin Hall, who is himself a stranger, someone I’ve never met in waking life or in a dream. But now that I’ve read him, now that I’ve written him into this work, he seems closer to me. Twin Peak’s serial lesson for viewers is this—even the people who seem strangers to us can interact with and intervene in our processes of production.These are the moments that a beginning takes place. And even if nothing directly follows, this transfer constitutes the hypothesised moment of production, an always-already perhaps, the what-if stimulus of charged possibility; the soil plot, or plot line, for freedom. Twin Peaks is a town in which the bizarre penetrates the everyday so often that eventually, the bizarre is no longer bizarre, but just another encounter with the ordinary. Dream sequences are common, but even more common—and more significant—are the moments in which what might otherwise be a dream vision ruptures into real life; these moments propel the narrative.Exhibit A: A man who hasn’t gone outside in a while begins to crumble, falling to the earth when forced to chase after a young girl, who’s just stolen the secret journal of another young girl, which he, in turn, had stolen.B: A horse appears in the middle of the living room after a routine vacuum cleaning and a subtle barely-there transition, a fade-out into a fade-in, what people call a dissolve. No one notices, or thinks to point out its presence. Or maybe they’re distracted. Or maybe they’ve already forgotten. Dissolve.(I keep hitting “Save As.” As if renaming something can also transform it.)C: All the guests at the Great Northern Hotel begin to dance the tango on cue—a musical, without any music.D: After an accident, a middle-aged woman with an eye patch—she was wearing the eye patch before the accident—believes she’s seventeen again. She enrolls in Twin Peaks High School and joins the cheerleading team.E: A woman pretending to be a Japanese businessman ambles into the town bar to meet her estranged husband, who fails to recognise his cross-dressing, race-swapping wife.F: A girl with blond hair is murdered, only to come back as another girl, with the same face and a different name. And brown hair. They’re cousins.G: After taking over her dead best friend’s Meals on Wheels route, Donna Hayward walks in to meet a boy wearing a tuxedo, sitting on the couch with his fingers clasped: a magician-in-training. “Sometimes things can happen just like this,” he says with a snap while the camera cuts to his grandmother, bed-ridden, and the appearance of a plate of creamed corn that vanishes as soon as she announces its name.H: A woman named Margaret talks to and through a log. The log, cradled in her arms wherever she goes, becomes a key witness.I: After a seven-minute diegetic dream sequence, which includes a one-armed man, a dwarf, a waltz, a dead girl, a dialogue played backward, and a significantly aged representation of the dreamer, Agent Cooper wakes up and drastically shifts his investigation of a mysterious small-town murder. The dream gives him agency; it turns him from a detective staring at a dead-end to one with a map of clues. The next day, it makes him a storyteller; all the others, sitting tableside in the middle of the woods become a captive audience. They become readers. They read into his dream to create their own scenarios. Exhibit I. The cycle of imagination spins on.Images re-direct and obfuscate meaning, a process of over-determination which Foucault says results in “a multiplication of meanings which override and contradict each other” (DAE 34). In the absence of image, the process of imagination prevails. In the absence of story, real drama in our conscious life, we form complex narratives in our sleep—our imaginative unconscious. Sometimes they leak out, become stories in our waking life, if we think to compose them.“A bargain has been struck,” says Harold, an under-5 bit player, later, in an episode called “Laura’s Secret Diary.” So that she might have the chance to read Laura Palmer’s diary, Donna Hayward agrees to talk about her own life, giving Harold the opportunity to write it down in his notebook: his “living novel” the new chapter which reads, after uncapping his pen and smiling, “Donna Hayward.”He flips to the front page and sets a book weight to keep the page in place. He looks over at Donna sheepishly. “Begin.”Donna begins talking about where she was born, the particulars of her father—the lone town doctor—before she interrupts the script and asks her interviewer about his origin story. Not used to people asking him the questions, Harold’s mouth drops and he stops writing. He puts his free hand to his chest and clears his throat. (The ambient, wind-chime soundtrack intensifies.) “I grew up in Boston,” he finally volunteers. “Well, actually, I grew up in books.”He turns his head from Donna to the notebook, writing feverishly, as if he’s begun to write his own responses as the camera cuts back to his subject, Donna, crossing her legs with both hands cupped at her exposed knee, leaning in to tell him: “There’s things you can’t get in books.”“There’s things you can’t get anywhere,” he returns, pen still in his hand. “When we dream, they can be found in other people.”What is a call to composition if not a call for a response? It is always the audience which makes a work of art, re-framed in our own image, the same way we re-orient ourselves in a dream to negotiate its “inconsistencies.” Bizarreness is merely a consequence of linguistic limitations, the overwhelming sensory dream experience which can only be re-framed via a visual representation. And so the relationship between the experience of reading and dreaming is made explicit when we consider the associations internalised in the reader/audience when ingesting a passage of words on a page or on the stage, objects that become mental images and concept pictures, a lens of perception that we may liken to another art form: the film, with its jump-cuts and dissolves, so much like the defamiliarising and dislocating experience of dreaming, especially for the dreamer who wakes. What else to do in that moment but write about it?Evidence of the bizarre in dreams is only the evidence of the capacity of our human consciousness at work in the unconscious; the moment in which imagination and memory come together to create another reality, a spectrum of reality that doesn’t posit a binary between waking and sleeping, a spectrum of reality that revels in the moments where the two coalesce, merge, cross-pollinate—and what action glides forward in its wake? Sustained un-hesitation and the wish to stay inside one’s self. To be conscious of the world outside the dream means the end of one. To see one’s face in the act of dreaming would require the same act of obliteration. Recognition of the other, and of the self, prevents the process from being fulfilled. Creative production and dreaming, like voyeurism, depend on this same lack of recognition, or the recognition of yourself as other. What else is a dream if not a moment of becoming, of substituting or sublimating yourself for someone else?We are asked to relate a recent dream or we volunteer an account, to a friend or lover. We use the word “seem” in nearly every description, when we add it up or how we fail to. Everything seems to be a certain way. It’s not a place but a feeling. James, another character on Twin Peaks, says the same thing, after someone asks him, “Where do you want to go?” but before he hops on his motorcycle and rides off into the unknowable future outside the frame. Everything seems like something else, based on our own associations, our own knowledge of people and things. Offline memory consolidation. Seeming and semblance. An uncertainty of appearing—both happening and seeing. How we mediate—and re-materialise—the dream through text is our attempt to re-capture imagination, to leave off the image and better become it. If, as Foucault says, the dream is always a dream of death, its purpose is a call to creation.Outside of dreams, something bizarre occurs. We call it novelty or news. We might even bestow it with fame. A man gets on the wrong plane and ends up halfway across the world. A movie is made into the moment of his misfortune. Years later, in real life and in movie time, an Iranian refugee can’t even get on the plane; he is turned away by UK immigration officials at Charles de Gaulle, so he spends the next sixteen years living in the airport lounge; when he departs in real life, the movie (The Terminal, 2004) arrives in theaters. Did it take sixteen years to film the terminal exile? How bizarre, how bizarre. OMC’s eponymous refrain of the 1996 one-hit wonder, which is another way of saying, an anomaly.When all things are counted and countable in today’s algorithmic-rich culture, deviance becomes less of a statistical glitch and more of a testament to human peculiarity; the repressed idiosyncrasies of man before machine but especially the fallible tendencies of mankind within machines—the non-repetition of chance that the Nineties emblematised in the form of its final act. The point is to imagine what comes next; to remember waiting together for the end of the world. There is no need to even open your eyes to see it. It is just a feeling. ReferencesBruns, Axel. “Towards Produsage: Futures for User-Led Content Production.” Cultural Attitudes towards Technology and Communication 2006: Proceedings of the Fifth International Conference, eds. Fay Sudweeks, Herbert Hrachovec, and Charles Ess. 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