Statement of the problem. The research of a national component in music is one of the urgent areas of music science, which can be realized in various aspects – historical, socio-cultural, stylistic, genre, compositional, and performance. The need of studying national specifics is traced most clearly on the examples of European countries, where the path of academic musical art has large time parameters. The Ukrainian national tradition, the vocal in particular, belongs to such musical phenomena. The analysis of publications on the chosen topic shows that, in addition to academic musicological works (Draganchuk, 2008; Komenda, 2014; Lyudkevych, 1999a, 1999b; Liashenko, 1973, 1991; Romaniuk, 2009), there are studies on the border of different sciences – musicology, sociology, history, psychology, cultural studies (Nikolaievska, 2020; Applegate, 1998; Gottlieb, 2019; Kelly, Mantere, & Scott, 2018; Knox, 2019). The studies of national traditions in musical art, as a rule, concern the general principles of their manifestation (Draganchuk, Lyudkevych, Liashenko, Applegate, Kelly, Mantere, & Scott), as well as the creative work of individual composers (Komenda, Romaniuk). The study of national traditions in the performing aspect today requires special development. All this determines the scientific novelty of the presented research, which is related to the systematic characteristics of the whole phenomenon of the Ukrainian national vocal tradition. Our purpose is to identify the genre, style and performing aspects of it. The complex of research methods includes several directions: studying the researches devoted to the national in music in general, in the work of Ukrainian composers in particular; of the scientific works on a wide range of modern issues of musical theory and practice, as well as the analysis of historical evolution of Ukrainian vocal music. Research results and conclusions. In vocal music, national specificity operates on several levels – stylistic, genre, compositional, figurative, semantic, and performing. The Ukrainian national vocal tradition combines all these levels, which interact in different ways in a specific piece of music. It is important to note the difference between the concepts of national vocal tradition and national vocal school – the latter is a component of the national vocal tradition, which combines traditional musical culture and academic musical art, represented by both musical compositions and their presentation, that is by musical practice.

Microsatellite loci were screened from the genomic data of Dysomma anguillare and their composition and distribution were analysed by bioinformatics for the first time. The results showed that 4,060,742 scaffolds with a total length of 1,562 Mb were obtained by high-throughput sequencing and 1,160,104 microsatellite loci were obtained by MISA screening, which were distributed on 770,294 scaffolds. The occurrence frequency and relative abundance were 28.57% and 743/Mb, respectively. Amongst the six complete microsatellite types, dinucleotide repeats accounted for the largest proportion (592,234, 51.05%), the highest occurrence frequency (14.58%) and the largest relative abundance (379.27/Mb). A total of 1488 microsatellite repeats were detected in the genome of D. anguillare, amongst which the hexanucleotide repeat motifs were the most abundant (608), followed by pentanucleotide repeat motifs (574), tetranucleotide repeat motifs (232), trinucleotide repeat motifs (59), dinucleotide repeat motifs (11) and mononucleotide repeat motifs (4). The abundance of microsatellites of the same repeat type decreased with the increase of copy numbers. Amongst the six types of nucleotide repeats, the preponderance of repeated motifs are A (191,390, 43.77%), CA (150,240, 25.37%), AAT (13,168, 14.05%), CACG (2,649, 8.14%), TAATG (119, 19.16%) and CCCTAA (190, 19.16%, 7.65%), respectively. The data of the number, distribution and abundance of different types of microsatellites in the genome of D. anguillare were obtained in this study, which would lay a foundation for the development of high-quality microsatellite markers of D. anguillare in the future.

Statement of the problem. In the modern conditions of cultural globalization, national identification is the object of special attention, and this also applies to all spheres of musical art. The study of national vocal traditions both in the form of national vocal schools of academic art and in the sense of manifestations of the national musical tradition is one of the urgent areas of music science. It can have socio-cultural, historical, genre-stylistic, performing dimensions. However, this field of musicology is still developing in several extensive ways, rarely combining into complex scientific investigations, on the basis of which a certain kind of methodology of musicological analysis of the phenomena of vocal art may be born. The analysis of publications on the chosen topic shows that, in addition to academic musicological works devoted to the national specificity of musical art (Draganchuk, 2008; Lyudkevych, 1999; Liashenko, 1973, 1991; Romaniuk, 2009), interdisciplinary studies combining knowledge of musicology, sociology, history, psychology, cultural studies have recently appeared (Nikolaievska, 2020: Applegate, 1998; Gottlieb, 2019; Kelly & Mantere & Scott, 2018; Knox, 2019). Studies of performing schools (Dedusenko, 2000), in particular, national vocal schools, as a rule, relate to the history of their development within the framework of academic European vocal art (Hnyd, 1997; Stakhevych, 2013; Totska, 2012; Tsebrii, 2021; Shuliar, 2010, 2012), and do not often take into account the specifics of traditional musical culture (Kornii, 2002; Lyudkevych, 1999; Applegate, 1998; Schwartz-Kates, 2002). Therefore, the study of the national vocal tradition as a complex phenomenon requires special attention of modern musicology. The above determines the scientific novelty of the presented study, which is related to the differentiation of the concepts of vocal school and national vocal tradition in the aspect of musical performance and musicology. The purpose of the scientific work is to outline the ways and perspectives of musicological research of the national vocal tradition. The methodological basis of the research is a combination of several areas: scientific investigations devoted to the specifics of national manifestations in music; research on national vocal schools; scientific works from a wide contextual range of musicological issues. The results and conclusions of the study. The national vocal tradition in today’s multi-cultural, multi-style, multi-genre conditions has various manifestations, which requires its complex scientific research. It is necessary to note the difference between the concepts of the national vocal tradition and the national vocal school – the latter is a component of the national vocal tradition, which combines traditional musical culture and academic musical art, represented both by musical compositions and their presentation, i. e. musical practice. Thus, the national vocal tradition is a complex concept that characterizes the system of artistic phenomena associated with the national origins of traditional musical culture and their manifestations at all levels of a musician’s professional activity.

In recent years, the competitions among financial institutions have become more and more intense. In such a case, financial institutions' demands for talented pe rsons with solid financial engineering expertise are incre asing day by day. At the same time , considering that risk management is one of the core tasks of financial engineering, the continuous development of internet finance also increases the demands for talented pe rsons whose majors are financial engineering. While the course construction of case analysis of financial engineering helps students to apply what they have learned to practical cases. There is no doubt that the course construction of case analysis of financial engineering plays an important role in improving professional qualities of the students of financial engineering. Considering the aforementioned factors, the paths of the course construction of case analysis of financial engineering are analyzed from the following aspects in this paper: core tasks of financial engineering, disciplinary crossing and integration, selection of cases of financial engineering, se rvicing the needs of students' development, setting up the corresponding pre-courses, construction methods, laboratory conditions and other principles that need our attention.

Statement of the problem. The study of the processes of synthesis of composers’ and performance arts is one of the relevant areas of modern music science. An important aspect of their manifestation is the national tradition, which has its own characteristics in different historical and cultural conditions. This is especially true of national music representing countries that are far from the European continent. These include Argentine music, in particular, the vocal one. The analysis of publications on the chosen topic shows that the issue of national manifestations in the art of music remains acute. In addition to academic musicological research (Lyashenko; Romaniuk), there are scientific works on the border of science and journalism (Gottlieb; Kelly & Mantere & Scott; Knox), where the context is modern cultural and civilizational processes. The study of national traditions, including vocal ones, in A. Ginastera’s music (Brakhman & Kononets; Dotsenko; Kryazheva; Chase; Schwartz-Kates; Carballo; Wylie) is mostly based on the analysis of the composer’s creative work, while the performance component is insufficiently studied. All the above determines the scientific novelty of the presented research, which has the purpose to reveal the composers’ and performance principles of A. Ginastera’s vocal creative work in the context of the specifics of the Argentine national vocal tradition. The methodological basis of the research units several thematic areas:the researches devoted to Argentine music (Kryazheva; Riggs; Schwartz-Kates), to the life and creative work of A. Ginastera (Brahman & Kononets; Dotsenko; Kryazheva; Carballo; Chase; Schwartz-Kates; Wylie), and to the issues of national traditions in composer and performance creativity (Lyashenko; Romaniuk; Kelly & Mantere & Scott), in particular, in the perspective of performance analysis (Nikolaievska). Results and conclusions of the research. In vocal music, national specificity reveals at several levels – the author-composer’ one (intoning, means of expression, stylistics), the stylistic one (historical, national, and musical style), the figurative-content one (more broadly – the cultural-mental one), and the phonic-articulatory one. A. Ginastera’s vocal creative work is a special synthesis of composer and performance rethinking of traditional Argentine music at the intonation and image level, which became the core of the Argentine national vocal tradition as a manifestation of the national “picture of the world”.