UKRAINE. EUROPE. WORLD. HISTORY AND NAMES IN CULTURAL AND ARTISTIC REFLECTIONS

The Dumka in the Context of Interslavic Musical Connections

2025-06-03T11:11:34+03:00

Jean-Philippe Rameau and JeanJacques Rousseau: Aesthetic Polarities in the Musical Expression of the Age

2025-06-03T11:38:44+03:00

Genre and Style Dimensions of Oleksandr Honobolin’s Solo Violin Works

2025-06-03T11:54:33+03:00

International Poetic Dialogue in Chamber-Vocal Works by the Western Ukrainian Composers in the First Third of the 20th Century

2025-06-03T12:02:14+03:00

Yevhen Milka’s and Boryslav Stronko’s Compositions for Domra Solo (Premieres of 2023)

2025-06-03T12:11:01+03:00

The Role of the Musicological Commission of the Shevchenko Scientific Society in the History of the Development of Ukrainian Musicology

2025-06-03T12:19:46+03:00

The Second Law of Dialectic as a Conceptual Axis of Creativity (Thoughts on the Anniversary Year of Myroslav Skoryk)

2025-06-03T12:26:55+03:00

Herman Zhukovsky. Two Views on the Musical Theatre

2025-06-03T12:56:07+03:00

Preservation of National Musical Culture in Wartime

2025-06-03T13:08:05+03:00

Political Contexts of Scenography in Contemporary Director’s Opera

2025-06-03T13:16:09+03:00

Semantemes of Ukrainian Academic Song in the Paradigm of Ethno-national Identity of National Musical Creativity

2025-06-03T13:25:39+03:00

Two Litanies from the 17th Century Suprasl Collection: Textological and Musical Analysis

2025-06-03T13:34:33+03:00

Vasyl Vasyliev: Creative Credo of an Artist and Teacher

2025-06-03T14:49:02+03:00

The Cultural-Creative Activity of Choral Ensembles from Nizhyn in Today’s Ukraine and the International Context

2025-06-03T15:00:29+03:00

Source Studies Aspects of the Memoirs about Oleksandr Kozarenko (to Commemorate the 60th Anniversary of His Birth)

2025-06-03T15:30:14+03:00

Plastic and Choreographic Visualization of Instrumental Scenes in the Opera Performance

2025-06-03T15:40:16+03:00

The Role of the Conductor in Musik and Educational Activities

2025-06-03T16:32:35+03:00

Victor Kaminsky: “The Best Teacher of Artists is Nature”

2025-06-04T10:27:22+03:00

Opera Performance as a Phenomenon of the Evolutionary Development of European Musical Culture

2025-06-04T12:09:21+03:00

Contemporary Versions of Works from the Repertoire of Ostap Veresai

2025-06-04T12:15:03+03:00

Ukrainian School Drama of the 17th–18th Centuries: The Issue of Reconstructing the Musical Component

2025-06-04T12:25:45+03:00

The Festival “Chervona Ruta” as a Factor in the Formation of the Ukrainian Record Label

2025-06-04T12:51:01+03:00

Stages of Destiny — Stages of Self-Discovery: Yuriy Fiala is Known Worldwide but Unknown in Ukraine

2025-06-04T13:00:09+03:00

“The Glory of Ukraine Will Rise Among Nations” — the Sacred Essence of the State Anthem of Ukraine

2025-06-04T13:11:13+03:00

Was There a Branch of the Mykola Leontovych Music Society in Hlukhiv?

2025-06-04T13:47:06+03:00

“Brundibar” by Hans Krasa: a Children’s Opera with a Non-Children’s Story

2025-06-04T14:37:05+03:00

Arranging and Its Specifics in Working with Students in the General and Specialized Piano Classes

2025-06-04T14:43:44+03:00

Music Festivals as a Tool for Territorial Marketing in Modern Italy

2025-06-04T14:56:57+03:00

Choral Works by Yuri Ishchenko Features of the Composing Style

2025-06-04T15:13:20+03:00

The Creativity of Alisa Kobzar in the Context of Contemporary Culturalart Practices of the 21st Century

2025-06-04T16:07:09+03:00

Director’s Reinterpretation of Gioacchino Rossini’s Opera-Farsa “The Silk Ladder” as a Comedy of Situations

2025-06-04T15:26:23+03:00

The Figure of Volodymyr Kozhukhar as an Example of a Conductor of Personality

2025-06-04T16:15:06+03:00

Ukrainian Opera on Historical Themes in Search of New Directorial Interpretation

2025-06-04T16:24:51+03:00

Musical Ukrainian Studies: Searching for New Paths

2025-06-04T16:34:30+03:00

Ukrainian Song Repertoire in the Performing Space of Modern China

2025-06-04T16:42:37+03:00

About the Prelude and Fugue No. 1 from the Cycle «34 Preludes and Fugues for Piano» by Valentyn Bibik: Stylistic Aspect

2025-06-04T16:51:32+03:00

Piano Sonatas by Jiang Wenye’s: Stylistic Features

2025-06-05T11:03:49+03:00

Great in Small: “24 Children’s Pieces for Piano” by Viktor Kosenko in the Mirror of the Era

2025-06-05T11:26:45+03:00

Children’s and Youth’s Repertoire of Ukraine Musical Theatre: Review of Worldwide and Domestic Trends

2025-06-05T11:32:36+03:00

Lesya Ukrainka’s creativity in Vitaliy Kyreyko’s operas

2025-06-05T11:41:40+03:00

About Two Forgotten Anniversaries

2025-06-05T12:01:27+03:00

Costume Design as an Essential Part of Artistic Image Formation in Opera

2025-06-05T12:13:14+03:00

Mythopoetic Nature of Olena Ilnytska’s Piano Nocturnes

2025-06-05T12:21:40+03:00

Lyrical Intermezzo op. 44 of Sergei Bortkiewicz. Discovered Manuscript

2025-06-05T12:34:06+03:00

The Phenomenon of Witold Maliszewski: a View from the 21st Century

2025-06-02T16:05:09+03:00

The study examines the multifaceted legacy of Witold Maliszewski (1873–1939), an eminent Polish composer, pedagogue, and musical public figure, whose enduring impact and achievements have remained underrepresented in contemporary scholarship, particularly in Western musicological discourse. Drawing on the authors’ ongoing research and newly uncovered archival materials from Poland and Ukraine, the study reconstructs Maliszewski’s life and contributions — highlighting his foundational role in interwar Polish musical culture and his enduring influence as a teacher of figures such as Mykola Vilinsky and Witold Lutosławski. By integrating music analysis, pedagogical legacy, reception history, and institutional context, the paper addresses persistent historiographical omissions and repositions Maliszewski within the broader European musical landscape.

Children’s Song Folklore of Podillia

2025-06-02T16:26:02+03:00

Дитячий фольклор Поділля багатий і різноманітний. Колискові й дитячі пісні краю з мелодіями опубліковано в різних виданнях [Дитячі пісні та речитативи, 1991; Єфремова, 2009; 2010; Квітка, 1922; Народні пісні Вінниччини, 2019; Народні пісні Хмельниччини, 2014; Народні пісні Черкащини, 2020; Народні пісні. Записи Людмили Єфремової, 2006; Одвічна Русава, 2003; Ой ти, просо-волото, 2008; Пилипчак, 2010; Пісні Поділля, 1976]. Звукозаписи подільських колискових співів містить диск серії «Традиційна музична культура України» («Колискові»).

У частотному каталозі українського пісенного фольклору авторка цієї статті виокремила три основних групи колискових пісень: давні загальнопоширені, східні й західні [Народні пісні Черкащини, 2020, с. 24–42], а за типом мелодики — західні та східні. Так, загальнопоширена колисанка «Ой ходить Сон коло вікон» (ДС-КД-01, коди подано за частотним Статті 58 Україна. Європа. Світ. 2024. Випуск 7 каталогом) за своїми мелодичними особливостями належить саме до західних. На Поділлі зафіксовано значну кількість варіантів цієї колисанки. У ній Сон запитує у Дрімоти, де вони будуть ночувати [Квітка, 1922, с. 177, № 559; Пісні Тернопільщини, 1989, с. 169 та ін.]. Як і скрізь, колискові пісні краю мають переважно строфічну будову.