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

The Dumka in the Context of Interslavic Musical Connections

Antonina Azarova — Wed, 23 Oct 2024 00:00:00 +0300

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

Vira Artemieva — Wed, 23 Oct 2024 00:00:00 +0300

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

Mariia Babii — Wed, 23 Oct 2024 00:00:00 +0300

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

Oksana Bassa — Wed, 23 Oct 2024 00:00:00 +0300

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

Svitlana Bilousova — Wed, 23 Oct 2024 00:00:00 +0300

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

Oksana Hnatyshyn — Wed, 23 Oct 2024 00:00:00 +0300

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

Tetiana Husarchuk — Wed, 23 Oct 2024 00:00:00 +0300

Herman Zhukovsky. Two Views on the Musical Theatre

Oksana Davydova — Wed, 23 Oct 2024 00:00:00 +0300

Preservation of National Musical Culture in Wartime

Romana Dudyk — Wed, 23 Oct 2024 00:00:00 +0300

Political Contexts of Scenography in Contemporary Director’s Opera

Adelina Yefimenko — Wed, 23 Oct 2024 00:00:00 +0300

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

Tetyana Zadorozna — Wed, 23 Oct 2024 00:00:00 +0300

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

Olga Zosim — Wed, 23 Oct 2024 00:00:00 +0300

Vasyl Vasyliev: Creative Credo of an Artist and Teacher

Petro Ilchenko — Wed, 23 Oct 2024 00:00:00 +0300

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

Olena Kavunnyk — Wed, 23 Oct 2024 00:00:00 +0300

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

Hanna Karas — Wed, 23 Oct 2024 00:00:00 +0300

Plastic and Choreographic Visualization of Instrumental Scenes in the Opera Performance

Olena Kasianova — Wed, 23 Oct 2024 00:00:00 +0300

The Role of the Conductor in Musik and Educational Activities

Liliia Kachurynets — Wed, 23 Oct 2024 00:00:00 +0300

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

Luba Kyyanovska — Wed, 23 Oct 2024 00:00:00 +0300

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

Yevdokiia Kolesnyk — Wed, 23 Oct 2024 00:00:00 +0300

Contemporary Versions of Works from the Repertoire of Ostap Veresai

Olena Koreniak — Wed, 23 Oct 2024 00:00:00 +0300

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

Lidiya Korniy — Wed, 23 Oct 2024 00:00:00 +0300

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

Denys Kocherzuk — Wed, 23 Oct 2024 00:00:00 +0300

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

Valentyna Kuzyk — Wed, 23 Oct 2024 00:00:00 +0300

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

Valentyna Kuzyk — Wed, 23 Oct 2024 00:00:00 +0300

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

Anna Myronenko — Wed, 23 Oct 2024 00:00:00 +0300

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

Olena Naumova — Wed, 23 Oct 2024 00:00:00 +0300

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

Olena Ponomarenko — Wed, 23 Oct 2024 00:00:00 +0300

Music Festivals as a Tool for Territorial Marketing in Modern Italy

Olena Ponomarenko — Wed, 23 Oct 2024 00:00:00 +0300

Choral Works by Yuri Ishchenko Features of the Composing Style

Mykola Puchko-Kolesnyk — Wed, 23 Oct 2024 00:00:00 +0300

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

Dzvenyslava Safian — Wed, 23 Oct 2024 00:00:00 +0300

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

Natalia Simonova — Wed, 23 Oct 2024 00:00:00 +0300

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

Ivan Stetskyi — Wed, 23 Oct 2024 00:00:00 +0300

Ukrainian Opera on Historical Themes in Search of New Directorial Interpretation

Iryna Suvorova — Wed, 23 Oct 2024 00:00:00 +0300

Musical Ukrainian Studies: Searching for New Paths

Olena Taranchenko — Wed, 23 Oct 2024 00:00:00 +0300

Ukrainian Song Repertoire in the Performing Space of Modern China

Ganna Usova — Wed, 23 Oct 2024 00:00:00 +0300

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

Liutsiia Tsyhaniuk — Wed, 23 Oct 2024 00:00:00 +0300

Piano Sonatas by Jiang Wenye’s: Stylistic Features

Mengzhao Chen — Wed, 23 Oct 2024 00:00:00 +0300

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

Kira Shamayeva — Wed, 23 Oct 2024 00:00:00 +0300

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

Oleksandra Shevelova — Wed, 23 Oct 2024 00:00:00 +0300

Lesya Ukrainka’s creativity in Vitaliy Kyreyko’s operas

Iryna Shesterenko — Wed, 23 Oct 2024 00:00:00 +0300

About Two Forgotten Anniversaries

Olha Shumilina — Wed, 23 Oct 2024 00:00:00 +0300

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

Serhii Shutko — Wed, 23 Oct 2024 00:00:00 +0300

Mythopoetic Nature of Olena Ilnytska’s Piano Nocturnes

Olena Yakymchuk — Wed, 23 Oct 2024 00:00:00 +0300

Lyrical Intermezzo op. 44 of Sergei Bortkiewicz. Discovered Manuscript

Temur Yakubov — Wed, 23 Oct 2024 00:00:00 +0300

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

Valentyna Nazarenko, Yuri Vilinsky, Olga Volosatykh — Wed, 23 Oct 2024 00:00:00 +0300

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 — Wed, 23 Oct 2024 00:00:00 +0300

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.