Instituto de Estudios Políticos y Derecho Público "Dr. Humberto J. La Roche"
de la Facultad de Ciencias Jurídicas y Políticas de la Universidad del Zulia
Maracaibo, Venezuela
Publicación cientíca en formato digital
ISSN-Versión Impresa 0798-1406 / ISSN-Versión on line 2542-3185
Depósito legal pp 197402ZU34
ppi 201502ZU4645
Vol.40 N° 74
2022
Recibido el 15/07/22 Aceptado el 07/09/22
ISSN 0798- 1406 ~ De pó si to le gal pp 198502ZU132
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Vol. 40, Nº 74 (2021), 531-542
IEPDP-Facultad de Ciencias Jurídicas y Políticas - LUZ
International festival “music without
limits” as a reection of new political
forms of intercultural dialogue
DOI: https://doi.org/10.46398/cuestpol.4074.29
Valerii Hromchenko *
Natalia Bashmakova **
Andrey Tulyantsev ***
Abstract
Using the comparative historical method, the purpose of
this article was to detect the new political forms of intercultural
dialogue at the time of the classical music festival. The international
festival “Music without limits” has not been the subject of scientic
research since the moment of its foundation twelve years ago,
festival which has an annual presentation at the Dnipropetrovsk
academy named after M. Glinka. The authors of this paper have
discovered the series of new forms relating to intercultural dialogue in
time, one of the most famous classical music festivals in the central region
of Ukraine, in particular discrete (separate) form in connection with the
celebration of holiday music, denotes a dierent presentation in time,
concerts of general thematic or compositional-artistic features; repertoire-
region form of festive movement, which concentrates the predominance of
musical compositions of a certain region or country; permanent form of
performance in terms of the presentation of masterpieces of the cycle of
academic musical art, which is stipulated by the performance at a single
concert of all compositions of the musical cycle. It is concluded that music,
under certain political conditions, can represent a space for intercultural
dialogue.
Keywords: music festival; intercultural dialogue; cultural policies;
cultural identities; art and politics.
* Assistant Professor, Vise-rector for Scientic Work, Dnipropetrovsk music Academy after Mikhail
Glinka, Dnipro, Ukraine. ORCID ID: https://orcid.org/0000-0002-2446-2192
** PhD, Assistant Professor, Dnipropetrovsk music Academy after Mikhail Glinka, Dnipro, Ukraine.
ORCID ID: https://orcid.org/0000-0002-9484-2406
*** PhD, Assistant Professor, Dnipropetrovsk music Academy after Mikhail Glinka, Dnipro, Ukraine.
ORCID ID: https://orcid.org/0000-0002-4567-432Х
532
Valerii Hromchenko, Natalia Bashmakova y Andrey Tulyantsev
International festival “music without limits” as a reection of new political forms of intercultural dialogue
Festival internacional «música sin límites» como
reejo de las nuevas formas políticas del diálogo
intercultural
Resumen
Mediante el método histórico comparativo el propósito de este artículo
fue detectar las nuevas formas políticas del diálogo intercultural en la
época del festival de música clásica. El festival internacional «Música sin
límites» no ha sido objeto de investigación cientíca desde el momento
de su fundación hace doce años, festival que tiene una presentación anual
en la academia de Dnipropetrovsk que lleva el nombre de M. Glinka. Los
autores de este trabajo han descubierto la serie de nuevas formas relativas
al diálogo intercultural en el tiempo, uno de los festivales de música
clásica más famosos en la región central de Ucrania, en particular la forma
discreta (separada) en relación con la celebración de música de festividad,
denota una presentación diferente en el tiempo, conciertos de temática
general o características compositivas-artísticas; forma repertorio-región
de movimiento festivo, que concentra el predominio de composiciones
musicales de determinada región o país; forma de ejecución permanente
en cuanto a la presentación de obras maestras del ciclo del arte musical
académico, que se estipula mediante la ejecución en un solo concierto de
todas las composiciones del ciclo musical. Se concluye que la música, en
determinadas condiciones políticas, puede representar un espacio para el
diálogo intercultural.
Palabras clave: festival de música; diálogo intercultural; políticas
culturales; identidades culturales; arte y política.
Introduction
The musical festival evolved as a large cultural phenomenon from
antiquity, specically from the period of Ancient Greece’s ourishing,
when the programs of Pythian and Olympic games included many musical
performances. As a result, the agonal nature of public musically performing
activity concerning ancient Greek games was accepted as a phenomenon
of competition, as a competitive, creatively rival process. artistically
performed act, without marks of competition, rivalry, and determination
of musicians’ professional level, has got armation as the phenomenon of
musical festival.
It is important to note that, since the Middle Ages, public musical
performance without competition (festival) has been an integral part
of many fairs. Music had escorted the diverse conversation of people
533
CUESTIONES POLÍTICAS
Vol. 40 Nº 74 (2022): 531-542
in during the demonstration of the musical, theatrical, and circus arts’
accomplishments as utilitarian nature and artistically aesthetic content.
Many creators had met people who had their own creative achievements,
particularly artistic achievements, which had been founded, in general, on
the synthesis of various arts types.
In the 17th and 18th centuries, people’s celebrations crystallized in
reference to specic artistic types. As a result, the musical festival was taking
place at the time. Herewith, the most essential traits of the festival movement
have been kept, in particular the ability of the festival’s participants to learn
from each other, to communicate creatively with artists, while at the same
time bypassing any intention regarding musically performing rivalry or
competition of musicians.
As a result, festival movement has crystallized into distinct types
of public celebration, denoted by educational, cultural, lighting, and
advertising vectors (Luchaninova et al., 2019). In addition, the types of
festival marathons purchase the specic determination.
The process of acquiring the greatest diversity in structurally content
representation in one or more festival movements produces, on the one
hand, its unique artistic feature and generates the greatest amount of
listening interest in the festival events, but it also produces the problem of
constant search for new forms of creative dialog, founded on the artistic scale
of intercultural communication for representatives of the contemporary art
community.
But questions remain about researching the processes of innovation and
creativity in festival organizations and ways to encourage new ideas and
creative solutions (Parwita et al., 2021; Arsawan et al., 2022), as well as
intercultural communication and as an important component of the new
educational paradigm (Kyrpychenko et al., 2021).
1. Literature Review
The theme of festival movements in Europe, particularly in Ukraine, is
scientically developed by many researchers at a high professional level.
Fedorova1 (2017) is deeply studying the artistic aspects of the concept
of «festival»; Zubenko (2011) is deeply studying the thematic pallet of
contemporary festival dynamics; Ighnatjjeva (2018) is investigating the
phenomenon of festival movement in foreign and Ukrainian musical art into
the vector for upbringing of musically aesthetic culture and its participants;
Bermes (2015) is explaining the fundamental organizational bases of the
musical festival movement, and scientists-economists are
534
Valerii Hromchenko, Natalia Bashmakova y Andrey Tulyantsev
International festival “music without limits” as a reection of new political forms of intercultural dialogue
Among of the many foreign researches we are emphasizing scientic
explorations in particular investigations by Lawendowski and Besta
(2020), which are detecting the features of self-development at the context
of musical festival movement; scientic research by Fernandez (2019),
which is discovering economic and social results of musical festivals;
collective scientic article by Pavlukovic et al., (2020) which are opening
the peculiarities of social inuence from contemporary musical festivals;
analytical disquisition by Klara (2020), where the phenomenon of social
community is disclosed in the context of modern musical festival movement.
Highlight, that wide thematic eld of investigations concerning the
phenomenon of festival movement, unfortunately, bypasses the separation
and statement of new forms regarding intercultural communication in the
light contemporary international festivals of classical music. Herewith, the
international musical festival «Music without limits» (c. Dnipro, Ukraine)
is staying without attention as Ukrainian and foreign scientic community.
The purpose of submitted article is detecting of new forms in relation
to intercultural dialog in time the festival of classical music, in particular
international festival of classical musical art «Music without limits».
2. Methods
The necessity of this scientic investigation is conditioned by the
need to reveal new forms of festival movement that have been grounded
in international intercultural dialogue. The importance of analyzing the
international festival of classical musical art «Music without limits», which
has not been the subject of scientic investigation since its inception, and this
is a period of twelve years of its annual representation at the Dnipropetrovsk
music academy named after M. Glinka (c. Dnipro, Ukraine).
The main research method was the comparative-historical method,
which allowed for a systematic study of intercultural dialogue as a modern
means of intercultural communication and as an artistically performed act,
without marks of competition, rivalry, and determination of musicians’
professional level, has got armation as the phenomenon of music festival.
It should be noted that the author collectivity of the submitted research
is a direct participant of the organizational committee for the international
festival «Music without Limits», as it has had practical experience in
the generation of new forms in relation to intercultural dialog in the
international festival movement in one of the largest cities in Ukraine,
namely Dnipro.
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3. Results
The «Music without limits» is a contemporary international festival of
classical musical art, which had been founded in 2009 at the Dnipropetrovsk
music academy named after M. Glinka (c. Dnipro, Ukraine). Rector of
academy music in Dnipro, famous pianist and teacher Novikov (2009) was
idea man-inspiration for this scale Ukrainian musical event.
The rst festival «Music without limits» had been devoted to performers-
pianists. Three days a row, a namely in the period 25 – 27 February 2009,
at the main concert hall of academy music named after M. Glinka, the
representatives of the three celebrated piano school, in particular Ukrainian
– honored art worker of Ukraine, rector of academy music named after
M. Glinka, pianist Novikov (2009). The piano masterpieces of diver’s genres
and culturally historical periods had been sounding at the concert hall
of academy. Those were renowned piano compositions by W. Mozart, L.
Beethoven, F. Liszt, E. Grieg and others celebrated European composers.
The festival has the idea of unity: we are all children of the Earth, the
children of the European culture, and through cultural space that does
not know limits, sooner or later we must come to common space of the
European home, to the united European family (Novikov, 2009).
Among the tasks of international festival marathon, Novikov (2009) has
focused the attentions of listeners and festivity participants on the next
artistically creative, cultural and educational vectors, a namely «propaganda
of piano performing art, raising the professional level of professors and
students, support for young artists, as well as assistance of active promotion
for integration process of the Ukrainian culture to the world culture».
The second international festival of piano art «Music without limits»
had held in 22 – 25 December 2009. The increasing of participants for
festival movement was conditioned the holding of creative event in the
period four days, consequently, it had expanded the palette for artistically
creative forms concerning intercultural communication.
Emphasize, that rst festivals «Music without limits» had been
generating in itself, today very well known, the forms of intercultural dialog.
Those were concerts by famous masters of musically performing art, the
master-classes by renowned musicians of international professional level,
the scientically practical conferences with participation of celebrated
musicologists, the creative meetings with distinguished musicians-
conductors, composers, teachers, as well as concerts by young talented
performers, which had been presenting the dierent academic performing
schools11,12.
The festival relay in 2010 had been taken over by musicians-vocalists.
The peculiar artistically creative synthesis of vocal and instrumental art
536
Valerii Hromchenko, Natalia Bashmakova y Andrey Tulyantsev
International festival “music without limits” as a reection of new political forms of intercultural dialogue
was accomplished in the chamber music genre. People’s artist of Ukraine,
professor of Odessa national music academy named after A.V. Nezhdanova,
laureate a lot of international musical competitions V. Navrotskiy (basso)
had been gifting to many music lovers the unsurpassed culture of academic
singing at the rened expressive ensemble with a pianist Ju. Novikov.
Accentuate that the scientically investigative work had received the
essential activation at the festival movement. The international scientically
practical pedagogical conference «History and myth in the national musical
culture» had been held in the period 4 – 5 November 2010 at the framework
festival «Music without limits».
IV International festival of musical art «Music without limits», which had
been held 9 – 11 much 2011 in Dnipropetrovsk music academy named after
M. Glinka, had collected of well-known performers on string instruments.
The J.S. Bach’s, F. Mandelson’s, P. Tchaikovsky’s compositions had been
sounding by professor of Geneva Conservatory and Bern high music school,
cellist D. Severin (Switzerland); laureate of international competitions,
concerting performer, violinist B. Brovtsin (Great Britain) as well as
Dnipropetrovsk chamber orchestra «The seasons» (governed by conductor,
people artist of Ukraine D. Logvin).
The international festival movement in 2012 had been importantly
signicant for representatives of wood and brass wind instruments and also
string academic instruments. Musical masterpiece by W.A. Mozart a namely
Concert D-dur for ute and symphonic orchestra performed by professor
Dresden High music school named after K. Weber, utist-virtuous S. Reti
solemnly had opened creative marathon. Contrast of musical imaginations
with emotional, romantic expression was being emphasized by professor
Geneva High music school D. Severin into the Concert a-moll for cello with
orchestra by R. Shuman.
Celebrated musician-trombonist, professor Geneva Conservatory had
performed Concertino for trombone and chamber orchestra by E. Larson.
Masterpiece of violin musical compositions – Concert for violin with
symphonic orchestra by P.I. Tchaikovsky, which had been inspired sounded
by professor Geneva Conservatory, violinist S. Ostrovsky, had become
brilliant culmination for celebrative evening of the rst festival day.
The presentation of creative project by laureate of many international
competitions, famous concert pianist V. Kholodenko «32 Sonatas for piano
by L. Beethoven» had been the magistral feature of festival marathon in
2012. Underline, that students and teachers of Dnipropetrovsk music
academy named after M. Glinka as well as many connoisseurs, admirers of
academic musical art had had possibility for comprehension the one of the
most fundamental strata for development of piano performing, practically
understanding of dynamic concerning establishment and enlargement of
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piano musically performing art, emphasize, into the seven concerts during
academic educational year.
Thereby, it is this series of single concert performing by only one
performer into distinctly denoted creative project had claimed the new
artistically organizational structure of festival movement, in particular
discrete (separate) form of festival holding, so to speak, the peculiar step
by step artistically aesthetic presentation of classical music celebration.
The festival events in 2013 had been designated by holding of
artistically creative meetings on the stage of Dnipropetrovsk academic
theater of Russian dram named after M. Gorky. World-renowned pianist
O. Romanovskiy with the youth academic symphonic orchestra «Festival»
had been performing Concert № 2 for piano with orchestra by S. Prokoev.
Accentuate, the forum of folk instruments performers, which was being
held 4 – 6 much 2014 at the many concert halls of Dnipropetrovsk academy
music named after M. Glinka, had become the original innovation into the
structurally thematic program of international festival «Music without
limits».
The beginning of that forum had been designated by solo concert of
honor artist of Ukraine, cymbalist A. Voychuk. Cymbalo had been sounding
as the solo instrument at the main concert hall of academy for the rst
time. Program of the concert had concluded the compositions of dierent
composers, masterpieces of various epochs, genres and styles. The second
day from the forum of folk instruments performers had been a present
culturally artistic celebration. There was concert of main folk instrument
orchestra of academy music named after M. Glinka (creative director and
conductor S. Karlov), performances of bright soloist-virtuous on dierent
academic folk instruments.
Evolutional movement of music academic festival «Music without
limits» in 2015 had launched the new vision of intercultural creative
communication, in particular repertoire-region format of festival holding.
The renovation was directed, in the rst time, to the features of repertoire
lling in reference to concert events. Identied approach to the musical
masterpieces of dierent countries had been put into the foundation for
designation of festival musical program.
Whereby, the new round of international musical celebration had been
begun by classical masterpieces of Germen music, a namely «The Germen’s
musical days» on the international music festival «Music without limits».
Famous musical instrumental compositions by L. Beethoven, K. Weber had
been sounding from the main concert stage of music academy M. Glinka.
The rst performance Concert cis-moll for piano and symphonic
orchestra by F. Poulenc in Ukraine had been took place during «The
538
Valerii Hromchenko, Natalia Bashmakova y Andrey Tulyantsev
International festival “music without limits” as a reection of new political forms of intercultural dialogue
French’s musical days» into interpretation by pianist Ju. Novikov and
youth symphonic orchestra «Festival» (artistic leader and conductor D.
Logvin). We underline, that score of this piano concert, wrote by F. Poulenc
in 1949, had not been printed. Concert’s notes were kept at the handwritten
form in the library of Paris Conservatory. By means of cooperation between
Ukrainian musicians and representatives of Switzerland musical groups the
notes of piano concert had been sent to the Dnipropetrovsk music academy,
where the premier presentation this piano concert by celebrated French
composer had been occurred.
«The Italy’s musical days» on the international festival of musical art
«Music without limits», which had been held 23 – 25 February 2015, had
gifted to listeners, among other amazingly masterpieces by romanticist
G. Verdi and famous contemporary composer N. Roto, the cycle 24 caprices
for violin solo by N. Paganini (Shhuryk and Brynzej, 2015). It is this cycle
solo had been performed by professor Moscow Conservatory named after
P.I. Tchaikovsky, world well-known violinist O. Trostiansky into permanent
presentation, that is all caprices into the single concert at the solo
performing form. Consequently, the form of intercultural communication
had been denoted, in particular permanently performing form concerning
presentation of cycle masterpieces of academic musical art.
Necessarily accentuate, that master-class as the one of the most
remarkable artistically creative and educationally training form of musical
pedagogy as well as intercultural dialog, during holding of traditional festival
marathon, had been foundation for appearance of new form regarding
intercultural communication a namely «The celebrated representatives’
schools of academic musical art». Therefore, «Otto Saunter’s school»,
world famous trumpeter-virtuous, professor High school of arts in Bremen
(Germen), three days in a row (11 – 13 November 2015), had been disclosing
the secrets of trumpet art playing for many students from the High musical
educational institutions from cities such as Kyiv, Kharkiv, Lviv, Kryvyi Rig,
Kamyansky, Khmelnytsky, Ternopil.
The uniqueness of this form concerning festival movement in
Dnipropetrovsk music academy has been approved by the next factors of this
new form regarding intercultural communication between representatives
of German and Ukrainian academic wind performing schools, namely the
absence of time frames; the large quantity of participants for open lectures;
the synthesis of theoretical, methodological, and practical experience
(Weis, 2021).
The form of «The celebrated representatives’ schools of academic
musical art» for specically selected musical specialization had been
prolonged in the time next festival «Music without limits». There was
professional scientic communication with candidate of art, professor of
Moscow Conservatory named after P.I. Tchaikovsky G. Lyzhov on the theme
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«The school of style harmony» (23 – 27 November 2015), as well as with
world famous opera singer from Germen, soloist of Stuttgart opera house,
renowned concert vocalist-performer Yutta-Maria Bionert – the practical
topic «The school of academic vocal art from singer Yutta-Maria Bionert»
(26 – 29 October 2015) (Korolchuk, 2021).
International festivals of classical musical art «Music without
limits», which had held in the period 2016 – 2019 at the concert halls of
Dnipropetrovsk academy music named after M. Glinka, distinguished by
approving of instrumentally-specialized holding form of international
artiste event. 11 – 13 April 2016 students and teachers of academy music,
as well as multitudinous music-lovers from Dnipro and others cities of
Ukraine, had been eyewitnesses of compositionally creative renovation
concerning the form of well-known musical marathon «Music without
limits».
The festival has maximally focused attention on the individualization
of instrumental priority, in particular on the cello masterpieces of dierent
genres from the world classical music. Certainly, the star cast of guests for
festival movement had been presented by cellists, a namely professor of
Paris Conservatory Jerome Pernod (France), professor High music school
in Geneva and High music school in Bern D. Severin (Switzerland), as well
as professor of Dnipropetrovsk academy music named after M. Glinka,
laureate of multitudinous international competitions among performers on
academic string instruments O. Lutsenko (Ukraine).
Period 15 – 19 December 2016 had been denoted by festival «Music
without limits» into brightly signied the instrumentally specialized
form. The title of international event – «Dnipro-Brass-Fest» had been
displaying the new form of musical celebration. Specialized vector of
academic instrumental music, which had been representing only wind
brass instruments (trumpet, horn and trombone), had maximally
concentrated attention of multitudinous admirers, connoisseurs and
direct representatives of contemporary solo wind professional academic
performing art.
The star cast of participants for instrumentally specialized festival
marathon had been represented by professor of the High school of art
in Bremen Otto Saunter (trumpeter, Germen), soloist of the Florentine
Opera Luca Benucci (horn, Italy), Head of orchestral mastery faculty at the
Western University in Canada Alain Trudel (trombone), the honored artist
of Ukraine Andrey Ilkiv (trumpet, Ukraine).
Clarinet and saxophone had taken magisterial place into artistic horizon
of international festival «Music without limits» at the period 27 February – 1
March 2017. Celebrated Israel clarinetists-soloists twin brothers Alexander
and Daniel Gurnkel had been brilliant artistic decoration for rst two days
540
Valerii Hromchenko, Natalia Bashmakova y Andrey Tulyantsev
International festival “music without limits” as a reection of new political forms of intercultural dialogue
of creative movement named «Musical carnival» on international festival
«Music without limits».
Certainly, this type concentration on the determined instrument solo
during the festival marathon is making peculiar musical communities, which
are quickly popularizing the denite festival among connoisseurs of one or
another professional academic musical solo instrument. The psychological
sense of a brand community has a direct eect on commitment and on
word-of-mouth, concerning them artistically creative vocational activity
(Klara, 2020).
Highlight, the famous celebration of classical musical art «Music
without limits» has claimed as the not commercial event, at the period of
twelve years festival movement. The festival is spending, rst of all, the
intercultural, socially cultural, as well as educationally training missions
at the Dnipropetrovsk region. Festivals foster the social and cultural
development of the area, creating social identity, generating civic pride,
contributing to the formation of audiences, encouraging cultural enrichment
and physically transforming the area (Fernandez, 2019).
Conclusion
The above-mentioned analysis of the international musical art festival
«Music without limits», which operates on the basis of the Dnipropetrovsk
music academy named after M. Glinka (c. Dnipro, Ukraine), allows us to
identify a number of new forms of intercultural dialogue during the largest
celebration of classical music in Ukraine’s central region.
There are discrete (separate) forms of holding musical festivity, denoted
by representation of various at-the-time concert events or compositionally
artistic features of concerts; the repertoire-region form of the festival
movement, which concentrates the dominance of musical compositions
written in a specic region or country; and the permanently-performance
form, which represents cycle masterpieces of academic professional
musically-performing art.
The analysis of another’s traditional international festivals of classical
music art, which have gained popularity not only in Ukraine but in other
countries, will be a contemporary foundation for the designated scientic
theme.
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