Introduction. Nowadays, continuing the neo-style trend in musical art started in the 20 century, increased attention is being attracted to the intentions of stylization and reinterpretation of a certain historical artistic models, where stylistic allusions (a kind of indirect citation, hint) use. This stylistic phenomenon has special spiritual and ethical preconditions that culturologists interpret in view of the so-called neo-restoration trends in culture. The above also applies to Ukrainian violin music, where the creative method of stylization, which has acquired such great importance in the art of the twentieth century, is actively in demand even today, in the modern postmodern style situation. Thus, the appearance of pieces in the Ukrainian violin repertoire, which even by their name declare its relation with the models of baroque genres, programming a certain creative idea, deserves to be studied in order to explore their direct relation to the original genre form and identify the algorithms for its stylization. All this, at least, will have a positive effect on the practice of the perception of stylization artifacts of a certain genre invariant, including the miniatures of the baroque type. The material of this research is the works of modern Ukrainian composers in the genre of violin miniatures, based on stylization of Baroque genre forms, which have taken a prominent place in academic musical creativity in general and in the history of the formation of the violin repertoire in particular. The stylistic variety of genre reminiscences in the Ukrainian violin repertoire is reflected in a number of materials by Ukrainian researchers (I. Andrievskyi, I. Hrebneva, V. Zaranskyi, I. Karachevtseva, V. Lapsiuk, I. Pilatiuk, S. Sandiuk, L. Skrypnyk, S. Yadlovskyi), where, in particular, the question of the demand for the so-called “violin miniature” (A. Haray, N. Pilatiuk) appears. However, the conceptual definition of a violin miniature today does not look completely methodologically adequate: the stereotypical norms of comprehending this class of genres touch exclusively the side of scale proportions, which contradicts the latest approaches to the interpretation of genre forms by the method of semantic analysis, namely, when the genre invariant is considered as a sign of a certain typed content. However, only taking into account the act of typification, the reference indications necessary for the formation of musical consciousness are established, which serve as a reliable guide in recognizing the genre nature of a work and discovering the cultural, historical and communicative ties necessary for its understanding. Thus, the purpose of this article is to reveal the peculiarities of stylistic modifications of baroque genres in the Ukrainian violin repertoire of the early XXI century and to propose methodological guidelines for analyzing the diversity of interpretations of the genre invariant under the influence of the historically actual style. The complex of the analytical methods (analysis, synthesis, induction, deduction, comparative studies), as well as the historicaltypological and the prognostic approach was used in this research. Results of the research. The examples of stylization of baroque genres prove that in the postmodern stylistic dimension the intention to genre-stylistic allusions to the historically known is an important factor in the expression of the cultureforming ties of distant eras with modernity. Quite often, the very name of the genre used by the composer gives an orientation towards the perception of the range of corresponding historical and stylistic associations. The method of stylizing baroque genres and their rethinking thanks to new means of musical expression (specific melodic development, a special character of sound production and articulation, etc.) gives vivid artistic results. The samples examined demonstrate a variety of interesting author’s solutions based on the involvement of a historical genre model. Thus, Hanna Leonova’s Toccata (2010) is quite consistent with the genre image oftoccata as a “motor” piece. However, we note that the genre form of toccata is by no means associated (at least for today) with the actual violin repertoire, especially with the miniature, since it primarily existed in clavier music (recall, in particular, the clavier toccatas by J. S. Bach), and a row of the samples has a magnificent solemnity of sound and compositional monumentality. Nevertheless, the author found the opportunities to implement the “toccata” style, hinting at the genesis of this genre (etymologically – from “touch”, “sort out”), thanks to the compositional and performance specifics – improvisation, stability of rhythmical “motor” movement and high virtuosity. In “Sarabanda” by Vitalii Manik (2013) we observe only partial keeping of the three-beat meter normative for the chosen genre model, however, with a polyphonic presentation adequate in relation to the primary stylistic modus; in “Minuet” by Oleksii Voitenko (2003) – the stylistics of “music to dance”, but within the compositional boundaries of sonatina without the developing part. Victor Telichko’s “Partita” (2011) demonstrates cyclicality and reliance on dance elements, quite characteristic of the baroque version of this genre, but embodied in Ukrainian folk material. Avoiding quotations, the author preserves the melodic-rhythmic structure of folk-song material and creates his own thematic complex. At the same time, the use of a solo violin in this work is fully consistent with the traditions of the Baroque era, namely, Bach’s partita model; that is why a kind of allusion to the genre invariant arises. That is, applying allusions to baroque genres in violin miniature, contemporary Ukrainian composers demonstrate at least two approaches: the first is stylistic adequacy to the genre invariant (in its baroque version); the second is its actual stylization with the introduction of either a certain stylistic context, or an individual author’s compositional idea. Conclusions. Thus, the new conceptualization of the violin miniature requires an appropriate research approach, the basis of which is the semantic method of analyzing the genre invariant in musical works-stylizations, which has proven its fruitfulness in the postmodern era. Since the method of stylization always provides for a special relation to the genre invariant, the constancy of which has the ability to accumulate ever new typifying meanings, only a combination of analytical discourses that take into account both the genesis of the genre form and its stylistic modifications can form theoretically verified analytical models that are useful, among other things, in the learning process, contributing to the development of the musical consciousness of the recipient – the performer and the listener.

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. Homoliaka, 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.

Errors in the application of language rules of the legislative texts formation are the result of a complex logical and linguistic process. The rules of logic in texts of law form the basis of a legislative text, and are the framework, on which the legislative text is based on language rules. Compliance with language requirements ensures certainty and consistency, and the logic of the presentation of legal material, in turn, contributes to its accuracy and clarity. The logic of constructing a law is impossible without the logic of its language, and vice versa. The legal ways to eliminate errors in the application of language rules for the formation of legislative texts are: a) the distribution of the whole range of errors in the application of language rules for drafting legislative texts into general, terminological, syntactic and stylistic; b) effective use of legislative techniques as a system of tools and rules for creating laws and their systematization, which must be carried out in accordance with certain rules (legal structures, language tools, digital expressions, rules for setting out the norms of law in articles of law, rules for constructing law, rules of logic etc); c) normative consolidation of the requirements of the legislative style in the form of a hierarchy of division into general and special-legal. The general requirements include: 1) coherence and consistency of legislative texts, the absence of tautological errors; 2) accuracy and clarity, which means the quality of a legisltive text; 3) simplicity of presentation of a legislative text, which means the unambiguity of the text; 4) conciseness and compactness of a legislative text. Special legal requirements give normative quality to a legislative text. Among which it is possible to single out: 1) requirements in the field of nature of the prescription; 2) language standardization as an independent requirement for a legislative text; 3) the requirement of composition (graphicity) of a legislative text