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

The Dumka in the Context of Interslavic Musical Connections

Antonina Azarova — 2024-10-23

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

Vira Artemieva — 2024-10-23

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

Mariia Babii — 2024-10-23

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

Oksana Bassa — 2024-10-23

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

Svitlana Bilousova — 2024-10-23

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

Oksana Hnatyshyn — 2024-10-23

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

Tetiana Husarchuk — 2024-10-23

Herman Zhukovsky. Two Views on the Musical Theatre

Oksana Davydova — 2024-10-23

Preservation of National Musical Culture in Wartime

Romana Dudyk — 2024-10-23

Political Contexts of Scenography in Contemporary Director’s Opera

Adelina Yefimenko — 2024-10-23

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

Tetyana Zadorozna — 2024-10-23

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

Olga Zosim — 2024-10-23

Vasyl Vasyliev: Creative Credo of an Artist and Teacher

Petro Ilchenko — 2024-10-23

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

Olena Kavunnyk — 2024-10-23

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

Hanna Karas — 2024-10-23

Plastic and Choreographic Visualization of Instrumental Scenes in the Opera Performance

Olena Kasianova — 2024-10-23

The Role of the Conductor in Musik and Educational Activities

Liliia Kachurynets — 2024-10-23

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

Luba Kyyanovska — 2024-10-23

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

Yevdokiia Kolesnyk — 2024-10-23

Contemporary Versions of Works from the Repertoire of Ostap Veresai

Olena Koreniak — 2024-10-23

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

Lidiya Korniy — 2024-10-23

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

Denys Kocherzuk — 2024-10-23

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

Valentyna Kuzyk — 2024-10-23

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

Valentyna Kuzyk — 2024-10-23

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

Anna Myronenko — 2024-10-23

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

Olena Naumova — 2024-10-23

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

Olena Ponomarenko — 2024-10-23

Music Festivals as a Tool for Territorial Marketing in Modern Italy

Olena Ponomarenko — 2024-10-23

Choral Works by Yuri Ishchenko Features of the Composing Style

Mykola Puchko-Kolesnyk — 2024-10-23

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

Dzvenyslava Safian — 2024-10-23

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

Natalia Simonova — 2024-10-23

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

Ivan Stetskyi — 2024-10-23

Ukrainian Opera on Historical Themes in Search of New Directorial Interpretation

Iryna Suvorova — 2024-10-23

Musical Ukrainian Studies: Searching for New Paths

Olena Taranchenko — 2024-10-23

Ukrainian Song Repertoire in the Performing Space of Modern China

Ganna Usova — 2024-10-23

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

Liutsiia Tsyhaniuk — 2024-10-23

Piano Sonatas by Jiang Wenye’s: Stylistic Features

Mengzhao Chen — 2024-10-23

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

Kira Shamayeva — 2024-10-23

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

Oleksandra Shevelova — 2024-10-23

Lesya Ukrainka’s creativity in Vitaliy Kyreyko’s operas

Iryna Shesterenko — 2024-10-23

About Two Forgotten Anniversaries

Olha Shumilina — 2024-10-23

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

Serhii Shutko — 2024-10-23

Mythopoetic Nature of Olena Ilnytska’s Piano Nocturnes

Olena Yakymchuk — 2024-10-23

Lyrical Intermezzo op. 44 of Sergei Bortkiewicz. Discovered Manuscript

Temur Yakubov — 2024-10-23

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

Valentyna Nazarenko — 2024-10-23

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

Liudmyla Yefremova — 2024-10-23

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.