Культурологічний коментар як метод дослідження урбаністичного повсякдення композиторів ХІХ століття

This article examines cultural commentary as a methodological tool for studying the everyday life of composers. The effectiveness of this method is demonstrated from the standpoint of its cultural significance, as well as its role in constructing a chronological narrative of a composer’s life. It is established that commentary facilitates the resolution of several challenges associated with researching the creative biographies of artists, particularly through the integration of approaches from other humanities disciplines. The urban everyday life of 19th-century composers is explored with attention to the influence of the urban environment. The analysis of epistolary and literary sources contributes to a deeper understanding of the cultural context of the artistic phenomena of the time, the factors shaping composers’ daily habits, routines, and their interaction with the urban landscape, as well as the historical significance of landmarks encountered during their travels across European cities. The study justifies the relevance of examining the urban everyday experiences of 19th-century composers, characterized by common traits such as a passion for travel, urban lifestyles, the pursuit of new impressions, and the significant influence of broader cultural trends on their creative output. The article describes the urban experiences of German composer Robert Schumann during his time in Leipzig, and Ukrainian composer Semen Hulak-Artemovsky during his studies in Florence. Schumann’s epistolary legacy is analyzed, revealing his impressions of visited places and the impact of urban surroundings on his worldview. Details of Hulak-Artemovsky’s everyday life are reconstructed based on substantial biographical studies of his time in Florence. The study also highlights aspects of the composers’ leisure activities and professional engagements within the urban context. The urban landscapes of Leipzig and Florence are reconstructed with reference to key locations, facilitating a detailed exploration of the composers’ urban existence. The relevance and universality of using cultural commentary as a method for examining both the creative and everyday dimensions of musicians' lives is substantiated, offering a novel perspective on the world of musical culture.