Songwriting of Volodymyr Ivasiuk in the Context of Academic and Pop Vocal Performance

Authors

DOI:

https://doi.org/10.32461/2226-3209.2.2026.362378

Keywords:

Ukrainian musical art, vocal pedagogics, the songwriting of V. Ivasiuk, vocal performance, interpretation, singing styles, repertoire

Abstract

The purpose of this work is to present songs of the outstanding Ukrainian composer Volodymyr Ivasiuk as part of the educational and concert repertoire for vocalists specialising in both academic and popular music. These are the famous compositions “Love Blooms Only Once” and “Invite Me into Your Dreams”, lyrics by Bohdan Stelmakh. Attention is focused on the possibility of universal application and interpretation. It is known that academic and pop performance differ in a set of technical techniques, thanks to which the vocalist can realise a creative idea. It should also be noted the significant role of instrumental arrangement. The research methodology is based on the application of the following approaches: analytical – in the process of studying sources and illustrative material; cultural-historical – in understanding the current state of the educational and performing arts spheres, and in delineating the artistic milieu of the period in which the compositions presented in the article were created; in identifying the characteristics of academic and popular singing styles and their spheres of application; empirical – in the study of video materials, as well as the personal interpretation of the specified musical material by the author of the article. The scientific novelty lies in conducting a performance analysis of landmark works from the Ukrainian song heritage by V. Ivasiuk, with the aim of outlining their unique meaning and the possibility of universal application across various singing styles. Conclusions. The publication presents the composer’s works: “Love Blooms Only Once”, “Invite Me into Your Dreams”(lyrics by B. Stelmakh); the specific features of the sound interpretation of academic and popular singing styles are outlined in the context of the aforementioned musical material; the relevance of these compositions in the pedagogical and performance practice of vocalists in both academic and popular genres is confirmed.

References

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Published

2026-05-26

Issue

Section

Musical art