Introduction. Ukrainian sphere of culture needs clear and transparent support from Government during the pandemic. For this purpose all producers of cultural products must be identified in the structure of cultural and creative industries. Purpose and methods. The purpose of the article is to clarify the meaning of the concept of cultural product in the context of an interdisciplinary approach, given the interpretation of this concept in various fields of scientific knowledge and governmental-institutional practices at national and international levels, to develop recommendations for the use of the concept cultural product in legislative activity in Ukraine. The methodological basis of the study is the interdisciplinary, systematic and legal approaches. Results. The cultural product is the output of cultural industries. The sphere of culture defined as a set of cultural industries according to B. Miege, D. Throsby and EU Resolutions. Cultural industries are the main producers of cultural products (goods, services, events). Сultural product contains cultural value (M. Hutter, D. Throsby, B. Frey),which creates meaning and engages the consumer in cultural participation (P. Sacco). Сultural producers have different forms of ownership and act as cultural entrepreneurs, which produce for commercial purpose, not only for cultural purpose (music industry, tourism industry, festival industry etc). But the cultural production of meanings is the basis for cultural industries. Conclusions. Scientific novelty of the research results is to distinguish two approaches for the concept of cultural product: value based and legal based. The practical significance of the obtained results is in the possible use by the legislative and executive authorities of different levels for further improvement of legislation in the field of Iryna Parkhomenko, Kateryna Berezovska culture, the development of a strategy for providing financial assistance to entrepreneurs in the field of culture during the pandemic.

Introduction. The relevance of the study is in the formation of conceptual and terminological apparatus for the functioning of the music industry in Ukraine, the identification of music product producers, determining the specifics of music product and its essence, to develop an effective mechanism for copyright protection of authors and performers (artists) in a crisis of royalty payments formed in Ukraine in 2021. Purpose and methods. The study aims to determine the model of production and consumption of a modern music product given the rapid digitization of such a product in the last decade. The methodological basis of the study is comprehensive, systematic, and historical approaches. Results. A music product is defined in two definitions: first, like a musical composition with lyrics (song) or without lyrics (melody); secondly, “artist” as a music product that is directly involved in creating a track (song), public performance (concert), products with the symbols of their brand (merch) and content for social networks, television, radio, including advertising. Modern manufacturers of the music industry commercialize the artist's brand, his unique story. This strategy ensures rapid monetization of the music project and reduces investment risks. Conclusions. The scientific novelty of the research results is to determine the specifics of the functioning of traditional and modern models of modern music product production and consumption. The practical significance of the obtained results is in the use of the concept of “music product” for the development and improvement of legislation in the field of culture, the functioning of the music industry, and the protection of intellectual property rights, including copyright.

Introduction. The relevance of the research lies in understanding the approaches to building the career of novice artists by determining popularity strategies for modern music performers, criteria and indicators of popularity, as well as ways of forming their popularity. The digitalization process in the music and record industries has transformed production and consumption model of a music product and, therefore, has changed the strategies for gaining popularity for an artist. Purpose and methods. The purpose of the article is to investigate the popular strategies of a contemporary music artist and define them according to the levels of popularity in correlation with the scale of market coverage. The methodological basis of the research is a systematic approach, as well as general scientific, historical, and logical methods were used. Results. Popularity strategies of a modern music artist are implemented on two levels: local – in the digital world of social networks and streaming platforms; and national – with the involvement of PR events and the implementation of a communication campaign on major media. Popularity strategies have basic, monitoring, and effective popularity criteria with specific indicators. Conclusions. The scientific novelty of the research is the determination of popularity strategies of a modern music artist at two levels: local and national, and formulating their differences according to the criteria of the target audience, conducting a communication campaign, using marketing tools, and placing releases. The practical significance of the obtained results is their usage in the process of developing a marketing strategy for artists, in particular, beginners, to enter the music market and quickly monetize their creativity.