Sociocultural Functions of Choral Art in Subcarpathian Ruthenia in the 1920s–1930s

<p><i>The aim of the article </i>is to identify the institutionalisation level of the musical culture of Subcarpathian Ruthenia during the interwar period, to reveal the sociocultural functions of choral music in the region, and to determine the index of society's involvement in choral singing. Research <i>results </i>indicate an increase in the institutionalisation level of the region's musical culture in the 1920s–1930s, involving broad segments of the population in choral performance. Active amateur and professional choral activities became indicators of growing national self-awareness and self-affirmation through various forms of civic and creative activities. Choral music became an effective means of patriotic education for the youth, the basis for the development of the region's musical education, and a polylogue of ethnic musical traditions. The <i>scientific novelty </i>lies in defining the basic sociocultural functions of the choral art of Subcarpathian Ruthenia during the interwar period. The criteria for systematisation are the social and aesthetic needs of the region's residents, the features of their national self-awareness, creative, and economic resources. Choral art is considered as an element of the general cultural process determined by social and historical events. <i>Conclusions</i>. The cultural life of Subcarpathian Ruthenia in the 1920s–1930s proves the multifunctionality of choral art. However, the sociocultural functions of choral music varied in intensity. The choir became a kind of sociocultural environment that served as a factor in attracting the population to spiritual and aesthetic values, fostering the creative realisation of individual moral potential, and representing the entire set of cultural activities of ethnic groups. Choral art emerged as a powerful ethno-creative force that used various forms of representing ethnic identity, demonstrating social aspirations, and preserving traditions.</p&gt

Universals of Chinese Culture and Their Manifestation in Ceremonial Music

<p><strong>The purpose of the study </strong>is to determine the range of basic cultural universals, that formed the basis of Chinese civilization and revealed its originality and ethnic identity, as well as to trace their influence on the ancient national ceremonial music tradition. <strong>The research methodology </strong>is based on the use of cross-cultural and systematic methods, a combination of historical, source, axiological, and musicological approaches. <strong>The scientific novelty </strong>of the study lies in the fact that the ethos of music of ancient Chinese culture is substantiated, the performance features of ceremonial performances are revealed, and the idea of aesthetic constants and symbolism of music in the Celestial Empire is expanded. <strong>Conclusions. </strong>The uniqueness of Chinese culture lies in its impressive stability, internal continuity of forms and stylistic unity tested by hundreds of generations. Such qualities are determined by the ritualistic model of the Celestial culture. The unique picture of the world, conditioned by the experience of adaptation to complex natural and climatic conditions and ideas about the organization of the universe, objectified several cultural universals, which became the cornerstone of Chinese civilization. They include the basic elements of the five-point scheme: Tao, Tian, Li, Zhen, and Qi. In a general form, they record the socialization experience of individuals, express the values of the ethnic group, and function as a complete system, where each element is closely related to the other. Although none of these universals are directly related to music, they are all embodied in the musical practice of the Celestial Empire. Endowing music with metaphysical properties and functions led to the formation of ideas about "perfect music" as a special creative activity capable of beneficially influencing the individual, society, and the cosmos. In cosmologically interpreted music and its associated rituals, Confucians saw a "tuning fork" that tunes the management and education of the people to cosmic rhythms. Therefore, musical art acquired an ontological status, and the parameters of sound matter (pitch, rhythm, timbre, loudness, tempo, form) became a subject not only of aesthetics but also of politics and philosophy.</p><p><a href="http://musical-art.knukim.edu.ua/article/view/291080">http://musical-art.knukim.edu.ua/article/view/291080</a></p&gt

ARTS SYNTHESIS IN THE DESIGN THE EDUCATIONAL ENVIRONMENT OF PROFESSIONAL TRAINING OF FUTURE PRIMARY SCHOOL TEACHERS

The article outlines the essence of the concept of the educational environment, reveals its structure, and clarifies its key role in the system of future primary school teachers’ training. To meet that aim, several theoretical methods, including analysis of sources and literature on the research; structural and functional to justify the structure, content, and principles of building a training system; and theoretical modeling, are utilized. The interconnected components of the researched professional training have been described. They provide a positive result for the professional development of the future primary school teacher: axiological, socio-cultural, epistemological, cognitive, creative, personal-activity, and communicative. It has been proved that the educational environment design utilizing art synthesis allows: for more accurately predicting and controlling the teaching process, solving educational and training tasks, ensuring favorable conditions for the development of creative personality, and optimal use of available resources