Vol. 1 No. 3 (2025): Fine Art and Culture Studies

MUSICAL ART

• MODAL-TONIC ORGANIZATION IN THE VARIATIONS COMPOSED BY AZERBAIJANI COMPOSERS

  Nigar ABASOVA

  3-10

  • PDF

• DEFINITION OF THE CONCEPT OF “THEATRE MUSIC” IN MODERN SCIENTIFIC DISCOURSE

  Usein BEKIROV

  11-16

  • PDF (Українська)

• THE MOTET GENRE IN THE CHORAL HERITAGE OF RICHARD STRAUSS: COMPOSITIONAL INNOVATIONS AND ARTISTIC FEATURES (ON THE EXAMPLE OF THE “DEUTSCHE MOTETTE” OP. 62)

  Oleksii BOIAR

  17-23

  • PDF (Українська)

• PIERRE RODE’S “24 CAPRICES” THROUGH THE PRISM OF HIS VIOLIN CONCERTOS

  Marta BURA

  24-31

  • PDF (Українська)

• CHINESE TROMBONE ART AS A SOCIO-CULTURAL PHENOMENON

  Wang CHENG

  32-36

  • PDF (Українська)

• MONO-OPERA: GENRE SPECIFICITY AND FUNCTIONING IN THE CONTEXT OF CONTEMPORARY PERFORMANCE AND PEDAGOGICAL PRACTICE

  Yanina VYSHEHORODSKA

  37-41

  • PDF (Українська)

• ZHAO XIAOSHENG’S PIANO BALLADES AS MUSICAL ARTEFACTS OF THE CULTURAL REVOLUTION IN CHINA

  Gao DAQIAN

  42-48

  • PDF (Українська)

• SPECIFICS OF INTERDISCIPLINARY TRAINING OF BRASS PERFORMERS

  Eduard HOLOVASHYCH

  49-53

  • PDF (Українська)

• THE PRELUDE GENRE IN FRENCH MUSIC OF THE 17TH–20TH CENTURIES

  Diana GULTSOVA

  54-61

  • PDF (Українська)

• THE NEWEST DIMENSIONS OF GUITAR SOUND INTERPRETATION IN THE WORKS OF TORU TAKEMITSU

  Ivan DONCHENKO

  62-67

  • PDF (Українська)

• SPECIFIC FEATURES OF THE COMPOSER-PERFORMER STYLE OF OLEKSANDR KULIK

  Volodymyr DOTSENKO, Viktoriia TKACHENKO, Svitlana SHCHELKANOVA

  68-75

  • PDF (Українська)

• FORMATION OF VOCAL AND TECHNICAL SKILLS IN THE PROCESS OF TRAINING A MUSIC TEACHER

  Olga DUBOVSKA, Anastasiia ADAMIAN

  76-82

  • PDF (Українська)

• INTEGRATION OF DIGITAL TECHNOLOGIES INTO THE PROFESSIONAL TRAINING OF FUTURE MUSIC TEACHERS

  Mykhailo DUDAI

  83-92

  • PDF (Українська)

• THE EMOTIONAL AND INTONATIONAL TRANSFORMATION OF THE IMAGE OF CIO-CIO-SAN IN GIACOMO PUCCINI’S “MADAMA BUTTERFLY”

  Larysa ZUYENKO

  93-99

  • PDF (Українська)

• DEVELOPMENT OF CREATIVE ABILITIES OF FUTURE BACHELORS OF MUSICAL ART IN THE PROCESS OF PROFESSIONAL TRAINING

  Olena IVANENKO, Myroslav HRYNYSHYN

  100-105

  • PDF (Українська)

• INTERPRETATION OF THE FOLK-SONG TRADITION IN THE WORKS OF THE KYIV ACADEMIC ENSEMBLE OF UKRAINIAN MUSIC “DNIPRO” AND OLENA KULYK

  Yuliіa KARCHOVA

  106-112

  • PDF (Українська)

• “SONGS ABOUT DEAD CHILDREN” BY G. MAHLER IN THE CONTEXT OF SPIRITUAL-ETHICAL AND GENRE-STYLISTIC METAMORPHOSES OF THE VOCAL CYCLE IN EUROPEAN MUSIC OF THE EARLY 20TH CENTURY

  Tetyana KNYSHOVA

  113-120

  • PDF (Українська)

• METAMORPHOSES OF THE MYTH OF ORPHEUS IN FRENCH OPERETТA (USED ON THE EXAMPLE OF “ORPHEUS IN THE UNDERWORLD” BY J. OFFENBACH)

  Stanislav KOVALEVSKY

  121-128

  • PDF (Українська)

• PECULIARITIES OF PERFORMANCE STRATEGIES IN ASTOR PIAZZOLLA’S CHAMBER AND CONCERT GENRES: FROM HISTOIRE DU TANGO TO DOUBLE CONCERTO

  Ivan KOSYNETS, Vitalii OKHMANIUK, Stanislav HUMINYUK

  129-138

  • PDF (Українська)

• ASPECTS OF SOUND ENGINEERING OF SYSTEM MONITORING IN CONCERT ACTIVITIES IN UKRAINIAN FOLK CHOIRS

  Anton LADNYI

  139-145

  • PDF (Українська)

• SEMIOTIC ANALYSIS OF SYMBOL-WORDS IN THE UKRAINIAN SONG TRADITION

  Lidiia MAKARENKO

  146-151

  • PDF (Українська)

• THE ROLE OF SOUND DESIGN IN POP KEYBOARD PERFORMANCE

  Oleksii MALYSHEV

  152-158

  • PDF (Українська)

• FORMATION OF CHILDREN’S VOCAL AND CHORAL CREATIVITY IN UKRAINE: ISSUES OF FORMATION

  Olha MARTYNOVSKA

  159-165

  • PDF (Українська)

• THE ARTISTIC ACTIVITY OF THE MUSICAL UNION IN BUKOVINA AS THE MAIN CENTER FOR THE FORMATION OF PROFESSIONAL MUSICAL EDUCATION IN THE REGION

  Inna MOKROGUZ, Vitalii BONDARENKO

  166-171

  • PDF (Українська)

• THE BREAD-WINNERS OF EDUCATION HAVE FEATURES OF DEVELOPMENT OF MUSICAL CULTURE IN THE INSTRUMENTAL CARRYING OUT

  Vitalii OKHMANIUK, Natalia TOMCHUK

  172-180

  • PDF (Українська)

• THE GENRE OF TRANSCRIPTION AS A DRIVER OF COMPOSER-PERFORMER SKILL DEVELOPMENT

  Bozhena PANAKHOVA

  181-188

  • PDF (Українська)

• THE CREATIVE FIGURE OF AARON AVSHALOMOV AND ITS INFLUENCE ON THE DEVELOPMENT OF CHINESE MUSICAL ART OF THE 20TH CENTURY

  Iryna POLSKA, ZhuJun KONG

  189-198

  • PDF (Українська)

• THE CONDUCTORS’ COMPETITIONS IN UKRAINE DURING THE WAR AS A MANIFESTATION OF THE CONSOLIDATION OF THE CHORAL COMMUNITY

  Serhii PROKOPOV, Olena YASTRUB

  199-206

  • PDF (Українська)

• THE POETRY OF THE ‘UKRAINIAN SCHOOL’ IN A MUSICAL READING BY OSKAR KOLBERG

  Tetiana PROKOPOVYCH

  207-212

  • PDF (Українська)

• THE GALICIAN NAPIV (CHANT) IN THE COMPOSER’S INTERPRETATION OF O. KOSHYTS (ON THE EXAMPLE OF “DOSTOYNO EST’” FROM THE FOURTH LITURGY)

  Іryna ROMANIUK, Sofiia DIMITRIIEVA

  213-219

  • PDF (Українська)

• THE PARADOX OF DALCROZE’S “RHYTHM”: PHILOSOPHY WITHOUT MUSICAL RHYTHMICS

  Tetiana SAMAYA

  220-227

  • PDF (Українська)

• FOUNDING OF THE CONCEPT OF MUSICAL REPERTORY: SHEET MUSIC LIBRARIES OF THE FIRST PAID PUBLIC CONCERTS

  Nataliia SIKORSKA

  228-234

  • PDF (Українська)

• THEORETICAL APPROACHES TO STUDYING THE INFLUENCE OF MUSIC ON PERSONALITY

  Yurii SPRYNSKYI, Viktoriia POLiUHA

  235-241

  • PDF (Українська)

• FEATURES OF THE FORMATION AND DEVELOPMENT OF ACTING SKILLS IN MUSIC AND DRAMATIC THEATER ACTORS

  Olena STETSKOVYCH, Vladyslav ALTUKHOV, Artem VERESHCHAKА

  242-248

  • PDF (Українська)

• POETRY OF LESYA UKRAINKA IN VOCAL-INSTRUMENTAL COMPOSITIONS OF ENSEMBLE BANDURA PLAYERS

  Myroslava STOCHANSKA, Nataliia CHERNETSKA

  249-256

  • PDF (Українська)

• STYLISTIC AND DRAMATURGICAL FEATURES OF THE ROMANCE GENRE IN THE WORKS OF ZHANNA KOLODUB

  Rymma SULYM

  257-264

  • PDF (Українська)