The aim of the research is to identify the specific characteristics of the Turetsky Choir’s artistic model as a phenomenon of contemporary musical culture. The article addresses the essential features of the Turetsky Choir, as expressed in its artistic model, and the socio-cultural aspects that ensure the collective’s widespread popularity. Particular attention is given to a comparative analysis of classical crossover models and that of the Turetsky Choir, seeking to position the Turetsky Choir phenomenon within the hierarchy of modern musical art. The scientific novelty of the study of the Turetsky Choir phenomenon lies not in a mere description of its activities, but in a shift to a systemic level of analysis. This systemic approach allows for the uncovering of its unique working methods and cultural impact on the formation of refined strategies within the realm of mass musical art. This novelty manifests in elevating the phenomenon from merely commercially successful projects to relevant objects of fundamental knowledge concerning key processes in contemporary culture of Russia and the post-Soviet space. The work offers a toolkit for addressing questions related to developing mechanisms for achieving the most important creative and commercial goals within specific timeframes and societal contexts. As a result of the research, it has been established that the Turetsky Choir has created a holistic artistic model where academic vocal technique serves as the basic professional foundation, and classical crossover has evolved from a simple combination of genres to their total fusion. Performance is subordinated to socio-cultural demands and commercial expectations. Consequently, a repertoire consisting of recognizable hits becomes an effective tool for both generating and satisfying the audience's nostalgic sentiments.
This article presents the first systematic study of information manipulation in social media through images of Ukrainian soldiers generated by artificial intelligence (AI). Focusing on Facebook between 2022 and 2025, the research examines how fabricated soldier images created by generative neural networks have been disseminated for manipulative purposes. Several recurring thematic clusters are identified. Many of the pages spreading such content feature fictitious administrators (often abroad), display automated behavior (bots, automated commenting), and exemplify “coordinated inauthentic behavior” (CIB). For the first time, manipulations using generated images are compared across the Ukrainian and foreign segments of Facebook. The study highlights the risks of eroding trust in social networks amid the spread of the “Dead Internet,” an environment saturated with bots and synthetic content. By analyzing these practices, the article contributes to research on digital manipulation and calls for a deeper conceptualization of AI’s impact on social processes in the context of information warfare.
The article describes a unique theatre project recently implemented by an international team of directors, actors, and stage designers representing the Bremer Shakespeare Company, the Prague Shakespeare Company and the Ukrainian Vasyl’ko Theatre in Odesa. The project’s product is a production titled We Are Hamlet that was performed in several European cities in 2023. Directed by Guy Roberts, We Are Hamlet examines, through the text of Shakespeare’s Hamlet, what defines and makes possible the existence of human beings, despite their social, political, economic, educational, and even ecological differences. The discussed performance can be considered a conceptual statement, one made with the help of traditional artistic means but conveying meanings that acquire particular significance today. The production is analysed with recourse to the impact of media-broadcast images of the collective international support for Ukraine as a victim of the Russian aggression. The article looks into the artistic process itself, focusing on how the very idea of collective support is realised on stage through the so-called chorus atomisation.
English Abstract: This article investigates the impact of the COVID-19 pandemic on music education in Ukraine. In March 2020, Ukrainian authorities proclaimed a national lockdown like the ones in most other European countries. Restrictions included prohibition for students to attend lessons at schools or universities that would make any classroom musical activities illegal. Relevant legal acts have been collected in this article. To avoid closure, most of music education institutions provided a distance form of education. However, remote methods did not appear to be a worthy substitute for in-person lessons, especially in such disciplines as ensemble playing or singing. This article reveals the main disadvantages of distance music education, the most important of which is a signal delay during remote communication via the Internet. A survey of teachers in Ukrainian music schools about their experience under lockdown restrictions was conducted. The survey shows that many teachers regard distance education as much harder and less effective. Moreover, most teachers feel that students lose motivation to learn and practice music. This result does not significantly differ in rural areas from that of large cities and does not depend on teachers’ attitudes to COVID-19 prevention methods, and as such, indicates an objective nature of fact. Undesirable consequences of the measures taken during the pandemic arise as a key discussion of whether the restrictions are of benefit or harm. French Abstract: Cet article étudie l’impact de la pandémie de COVID-19 sur l’éducation musicale en Ukraine. En mars 2020, les autorités ukrainiennes ont proclamé un confinement national comme dans la plupart des autres pays européens. Les restrictions comprenaient l’interdiction pour les étudiants de suivre des cours dans les écoles ou les universités, ce qui rendait illégales toutes les activités musicales en classe. Les actes juridiques correspondant ont été rassemblés dans cet article. Pour éviter la fermeture, la plupart des établissements d’enseignement musical ont proposé une forme d’enseignement à distance. Toutefois, les méthodes à distance n’ont pas semblé être un substitut valable aux cours en personne, en particulier dans des disciplines telles que le jeu d’ensemble ou le chant. Cet article révèle les principaux inconvénients de l’enseignement musical à distance, dont le plus important est le délai de réponse lors de la communication à distance via Internet. Une enquête a été menée auprès d’enseignants d’écoles de musique ukrainiennes sur leur expérience des restrictions d’accès. L’enquête montre que de nombreux enseignants considèrent que l’enseignement à distance est beaucoup plus difficile et moins efficace. En outre, la plupart des enseignants estiment que les élèves perdent la motivation d’apprendre et de pratiquer la musique. Ce résultat ne diffère pas de manière significative entre les zones rurales et les grandes villes et ne dépend pas de l’attitude des enseignants à l’égard des méthodes de prévention de COVID-19, ce qui indique une nature objective des faits. Les conséquences indésirables des mesures prises pendant la pandémie soulèvent une discussion capitale sur le caractère bénéfique ou néfaste des restrictions. German Abstract: Dieser Artikel untersucht die Auswirkungen der COVID-19-Pandemie auf die Musikerziehung in der Ukraine. Im März 2020 verhängten die ukrainischen Behörden wie in den meisten anderen europäischen Ländern einen landesweiten Lockdown. zu den Einschränkungen gehörte das Verbot für Schüler, Unterrichtsstunden an Schulen oder Universitäten zu besuchen, was auch jegliche musikalische Aktivität im Klassenzimmer illegal machte. Relevante Rechtsakte dazu sind in diesem Artikel zusammengestellt. Um eine Schließung zu vermeiden, boten die meisten musikpädagogischen Einrichtungen Fernkurse an. Allerdings schienen die dafür zur Verfügung stehenden Methoden kein würdiger Ersatz für den Präsenzunterricht zu sein, insbesondere nicht in Disziplinen wie Ensemblespiel oder Gesang. In diesem Artikel werden die Hauptnachteile von musikalischem Fernunterricht aufgezeigt. Der wichtigste davon ist die Signalverzögerung bei der Kommunikation über das Internet. Es wurde eine Umfrage unter Lehrern ukrainischer Musikschulen zu ihren Erfahrungen mit den Lockdownbeschränkungen durchgeführt, die ergab, dass die meisten Lehrer den Fernunterricht als deutlich schwieriger und gleichzeitig weniger effektiv ansehen. Darüber hinaus haben die meisten Lehrer das Gefühl, dass die Schüler die Motivation verlieren, Musik zu lernen und zu üben. Die Ergebnisse unterscheiden sich in ländli-chen Gebieten nicht wesentlich von denen in Großstädten und hängen nicht von der Einstellung der Lehrkräfte zu COVID-19-Schutzmaßnahmen ab, womit sie auf eine hohe Objektivität der Studie hinweisen. Unerwünschte Folgen der Maßnahmen während der Pandemie werfen die Kernfrage auf, ob die Einschränkungen Nutzen oder Schaden hatten.
The research examines the phenomenon of creative programming as an example of the interaction between art and technology. The historical prerequisites for its emergence and various tools for its implementation are analysed. Systematization and analysis of existing platforms and computer languages for creative programming made it possible to classify them chronologically, according to principles of work, and technical characteristics. The main ways of using creative programming in different periods were explored in analysing contemporary art projects that used creative programming. Thus, The Algobabez duo used real-time programming with SuperCollider software at their performances. The capabilities of MAX/MSP made it possible to implement the performer-computer interaction in Inter-sax-tive by composer Nicolas Scherzinger. In the interactive project Messa di Voce, the sound is transformed with the help of the Openframeworks software into graphics, which affects the performers. In other cases, the software was written specifically for an art project. In the Abraham project, artist and programmer Gene Kogan tries to create an autonomous artificial artist who has his own will and can create authentic visual images. As part of the multidisciplinary interactive project "Hakanaï", we can see how code written specifically for the project, allows performer to interact with a visual projection (mapping) that, in turn, interacts with the performer’s moves. We prove that creative programming has become a promising, independent tool of creativity within modern interdisciplinary artistic practices, borders of which continue to expand thanks to the open code approach and the involvement of a community of like-minded people.
