Thus, the development of Ukrainian music underwent a gradual evolution until the Russian aggression began in 2022. After the fall of the Soviet Union, Ukrainian-language music was not in favor, but after 2014 and especially after February 24, 2022, it became mainstream. Among Chusach varieties of musical art in Ukraine, the most common are pop, rock, rap, jazz, etc. The new opportunities that the Network has opened up for performers also have many hidden dangers. This is primarily about piracy, which significantly reduces the profits from selling your own. At the same time, thanks to multimedia and high-speed Internet, the exchange of musical novelties became more efficient. In particular, for a long time, Ukrainian music was characterized by the same trends as in the West: song plots, rhythms, popular styles of music, etc. It should be noted that the demand for Ukrainian music increased after Russia's military aggression. The Russian product was banned. So, if similar trends unfold in the same way, Ukraine will continue to see the emergence of new talented collectives. It should be noted that pop and rock are promising directions of music development but rap also looks extremely promising.

The article looks at the literary hermeneutics in the context of natiosophic ideas by H.-G. Gadamer, S. During, M.  Heidegger, E. Smith, E. Said, D. Dontsov. It investigates the freedom-centred nature of nationalism, discovers new meanings of the concept “cultural nationalism”, as well as the key concepts of the natiosophic aesthetics. The research outlines the natiosophic specifics of the interpretation system through the comprehension of the various concepts. It sums up that nationalist interpretation is essentially natiologic (natiosophic), however, it is also literary, with the coherent semantic level of cognition. The evaluation here dominates over the formal-and-aesthetic level, which is quite common for such type of experience. Culturological aesthetics in the ontological existential dimension is deeply rooted in the nation’s being. It has a pronounced nation-creating nature, targeted at establishing a national identity that is grounded on the national idea. Under the colonial oppression, it finds its expression in the interpretation of the fiction texts as a writer’s spiritual-and-worldview systems of values.

The article analyzes the activity of conductor-choirmaster as a subject of cultivation with the help of conceptual models of culturological discourse. Moreover it determines the problem of the concept of "cultural creation", investigates the content potential of its conceptual derivations: "cultural art", "culture", "cultural carrier", consequently it analyzes their heuristic significance for the analysis of those processes of world and national culture, that are issued in the modality of cultural changes, achievements, cultural dynamics, the active subject of which is the figure of the choir conductor. The methodological potential of a non-classical philosophical and cultural toolkit made it possible to integrate narrowly specialized musicological principles of study into the historical and cultural context, into specifics of cultural realities, both historical and contemporary. In the context of culturological methodology and toolkit, the article deals with the typological characteristics of the conductor-choirmaster as frontierity and liminality, emphasizing the transgression of the creative component of conductor’s performance activities.

The article substantiates the feasibility of introducing student theatre in the professional training of future teachers on the basis of generalizing the experience of theatre pedagogy. The student theatre is considered as a form of art and pedagogical activity, oriented on personal development, self-development, and improvement of creative abilities of future teachers, formation of professional self-sufficiency by means of multilevel artistic and pedagogical communication in the system of higher pedagogical education. The characteristic features of the phenomenon of “artistic and pedagogical communication” are analysed and considered in two conceptual meanings: artistic and pedagogical. The multi-level artistic and pedagogical communication of the student theatre is defined as the interdependent process of professional training of future teachers, which integrates the internal and external interaction of subjects of artistic and creative activity. In this regard, the multi-level artistic and pedagogical communication of the students' theatre participants is presented as a consistent acquirement of role-playing in the process of certain levels of artistic and pedagogical communication. The characteristics of the levels of artistic and pedagogical communication are divided into: contemplative-oriented, creative-performing, artistic-active, and art studies. The article gives a determination of criteria and corresponding levels of mastering of multilevel artistic and pedagogical communication by future teachers.