Sloboda Art Studies

PROGRAMMING MODES IN UKRAINIAN CIMBALOM MUSIC

Natalia Bashmakova — 2025-05-26

The original repertoire of cimbalom mysticism through the prism of the ancient theory of program music, which is represented in the works of contemporary musicologists, is characterized in the article.The purpose of this article is to reveal the specifics and reveal the range of manifestations of programming modes in the works of Ukrainian composers with the participation of cimbalom.It has been established that today’s Ukrainian original cimbalom program music in total quantity is equal to 70 compositions.Characteristic for it (as well as for the academic tradition of performance on folk instruments in general) is the dominance of the paraphrastic mode (26 works). A series of concert performances of Ukrainian folk songs by G. Agratini, I. Misky, Y. Zulyak, P. Yusipchuk, O. Savitskaya, as well as Fantasies, Variations and Paraphrases based on folklore themes by D. Popichuk, V. Popadiuk, Y. Lapinsky, L. Donik. The second most numerous (19 works) is the figuratively-mood mode, revealed in the cimbalom works of A. Haydenko, S. Mostovy, V. Bohatyryov, O. Rybak, A. Strilts, and Y. Shevchenko. Also, an important place in Ukrainian cimbalom music is occupied by the psychological-mood mode (9 works), embodied in the compositions of B. Kotyuk, V. Dmytrenko, L. Kotokhin, and D. Panchenko.Small groups (in which from 1 to 3 works are presented) form compositions by D. Zador, Yu. Alzhnev, M. Stetsyun, A. Shusty, which have features of sound-following, figurative-symbolic, dramatic-plot, memorial modes and dedication mode. Also program music for cimbalom has compositions in which there is a crossing or layering of modes, associated with the multifaceted nature of artistic- figurative concepts (for example: Concert Fantasy “Carpathians” in memory of Desideri Zador for cimbalom by R. Medentsi, piano and symphony orchestra; V. Telichko’s Concert Fantasy “Ash Rock” for cimbalom and symphony orchestra). The presence of pictorial, portrait and sacred modes in cimbalom works by Ukrainian authors has not been identified. This fact is explained by the fact that in the artistic space of Ukraine the process of developing an original cimbalom repertoire covers only the last six decades.

CONTEMPORARY PRAISE SONGS IN WORSHIP CULTURE

Tetiana Bulakh — 2025-05-26

The article offers a theoretical and analytical interpretation of the phenomenon of contemporary praise songs within the framework of worship culture as a representative form of sacred communication characteristic of Evangelical Protestantism. The author conceptualizes worship music as an integrative spiritual and cultural phenomenon operating at the intersection of theological discourse, aesthetic practices, and sociocommunicative processes. Particular attention is paid to the analysis of the musical component of worship as a mechanism for modeling collective religious experience, encoding doctrinal meanings, and constructing normative frameworks of Christian worship. It is argued that in the context of a post-secular society and the growing prevalence of mediatized forms of religiosity, contemporary praise songs gain significance as a means of identity construction, symbolic organization of sacred space, and spiritual mobilization of faith communities. The functional diversity of worship music is outlined, including its capacity to serve as a religious “translator” between transcendent content and emotionally generative states within the audience. The study emphasizes the shift from the theological essence of musical worship toward its aestheticized form, which may lead to the reduction of profound sacred meaning. Based on a comprehensive analysis, the research concludes that worship songs in contemporary religious environments perform therapeutic, mobilizing, and integrative functions, contributing to the restoration of spiritual authenticity and enabling the adaptation of Christian communities to communicative challenges of a globalized world. Worship music is thus understood as a unique communicative code capable of structuring sacred experience, maintaining theological integrity, and sustaining the collective memory of faith.

ASYNCHRONY AS A COMPONENT OF A PIANIST’S EXPRESSIVE MEANS

Anatolii Harec — 2025-05-26

The article analyzes the phenomenon of performance expressive means – asynchrony. In the context of contemporary perspectives on the palette of pianistic playing techniques, the phenomenon of asynchrony has a rich historical path of formation and development, paralleling the evolution of the instrument’s timbral and acoustic qualities. The study analyzes the historical prerequisites and conditions for the emergence of the playing technique characterized by a slight temporal displacement between texture elements such as melody and accompaniment.The article introduces terminology and a classification of various ways of applying the technique involving displacement between the hands.Drawing on a historical review of pedagogical literature and an analysis of early 20th-century audio and mechanical recordings, the research determines the stylistic and expressive rationale for employing asynchrony across different styles and instruments of various periods. The study integrates a transdisciplinary approach, employing insights from the field of psychoacoustics, which examines the psychophysiological mechanisms underlying the perception of asynchrony and its role in expressive interpretation. This enables a nuanced characterization of the stylistic and pianistic features of asynchronous playing.The relevance of a new classification system is clarified that transcends the limitations of the “salon” style and reveals the expressive potential of texture displacement across different conditions and degrees of intensity.Based on the analysis of literature and research from related disciplines, a set of recommendations for performers and educators is proposed, aimed at recontextualizing the phenomenon of asynchrony in contemporary performance practice. The article also addresses the possibilities of graphic representation of this playing technique, exemplified by György Cziffra’s transcription of a “La Valse triste”, where notation elements approximating actual sound are actively employed for the first time. The conclusion outlines prospects for the development of alternative notational systems for displacement, viewed in the context of current interdisciplinary research trends and against the backdrop of the limited technical evolution of the piano.

GENDER DIFFERENCES IN ACADEMIC VOCAL TRAINING: PEDAGOGICAL APPROACH OF TEACHERS OF THE KHDAK

Viktoriya Gigolayeva-Yurchenko — 2025-05-26

The article presents a complex characteristic of gender differences in the process of academic vocal training, which are considered as a significant factor in the formation of an individualized pedagogical strategy. On the basis of generalization of their own practical experience, the teachers-vocalists of the department of choral conducting and academic singing of the Kharkiv State Academy of Culture carried out a thorough analysis of the anatomical-physiological and psychophysiological features of the male and women’s voice apparatus, which directly influence the nature of sound formation, development of respiration, development of registra formation, development of registra formation, development of registra formation.The authors outline the specifics of methodological work with representatives of different sex: in particular, for women’s voices it is important to form a stable support in the lower case, the alignment of register transitions, the development of flexibility of sound; For male - overcoming the voltage in the upper case, forming a soft attack of sound and stabilizing the position in the transition zone.The practice of teachers of the Department KhDAK confirms the effectiveness of the individual approach, taking into account not only the morphological but also the emotional-behavioral parameters of each student / student. Experts analyze the differences in the psychoacoustic perception of their own voice by students of different sex, which significantly influences the dynamics of the development of intonational accuracy, timbre stability and stage confidence.In the pedagogical process, teachers actively use methodological techniques tested in the Kharkiv State Academy of Culture, in particular variable use of vocalizes, work on mixed registers, gradual complication of the repertoire depending on the rate of psychophysiological adaptation of the student.The article is based on the importance of selection of educational material not only in the parameters of the voice type (tenor, soprano, etc.), but also in accordance with emotional sensitivity, level of stage readiness and individual potential of self-expression. As a result, the central role of the flexible, gender-oriented pedagogical model is emphasized, which is implemented by teachers of the department of choral conducting and academic singing of the KhDAK, and is based on a deep understanding of the relationship of physiological, psychophysiological and psychological factors. The prospects for further research in the direction of gender-oriented vocal pedagogy, in particular in the context of professional training of academic singers in art educational institutions, are determined.

PHONETICS AND STYLE: PERFORMING CHALLENGES IN THE INTERPRETATION OF СHINESE SONGS BY UKRAINIAN SINGERS

Lee Deshun — 2025-05-26

The article examines the specifics of the interpretation of Chinese chamber vocal works in the performing practice of Ukrainian singers of academic profile. The focus is on phonetic, intonational and stylistic barriers that arise in the process of working with vocal works written in Chinese. Given the tone nature of the Chinese phonetic system, it emphasizes its direct influence on vocal intonation, phrase, diction and formation of semantic expressiveness. The articulation originality of phonemes, the presence of four basic and neutral tones, the change in the meaning of the word depending on the intonational profile-all this creates a specific linguistic and musical environment, which requires a fundamentally new auditory and technical organization of the vocal process from the European performer.Separate emphasis is on the analysis of the intonational nature of the Chinese musical language as a phenomenon that integrates linguistic, semantic and musical components into a single intonation-semantic field. The article also highlights the aesthetic features of the Eastern vocal tradition, in particular the attraction to static forms of musical dramaturgy, meditative, rhythmic fixedness, ornamental thinking, as well as the use of flexible legatoes, microtone vibrations, glisono, natural dynamics and specific timing.This context emphasizes the need to revise the traditional European principles of sound, phrasing, articulatory organization and stylistic logic of interpretation.Within the framework of pedagogical discourse, strategies of step -by -step adaptation of Ukrainian vocalists to the Chinese vocal repertoire are outlined, in particular: integration of phonetic training into the structure of vocal learning, the method of interval comparison of Chinese tones with music intervals, active use of authentic audio, and co -existences. The conclusions about the need for an interdisciplinary approach to the preparation of singers in the process of mastering the Chinese chamber vocal repertoire in the conditions of European academic tradition are summarized.

VOCAL AND VERBAL CULTURE IN PROFESSIONAL TRAINING OF MUSIC TEACHERS

Olga Dubovska — 2025-05-26

The article considers the importance of forming vocal and verbal culture of students of art faculties of pedagogical universities.Attention is paid to the problem of vocal and verbal culture in the professional training of specialists in art disciplines, the peculiarity of pronunciation in singing in Ukrainian and foreign languages is considered. The importance of vocal and speech culture in the professional training of a teacher of musical art is also highlighted. The main aspects of the formation of speech expressiveness, vocal technique, diction and breathing as components of professional competence are analyzed. Ways of improving this culture in the process of professional training are outlined.The purpose of the article is to analyze methodological techniques for forming vocal culture of future teachers of musical art in the process of professional training in pedagogical institutions of higher education.Methodology. The experience of pedagogical work proves that in vocal performance practice the problem of the word in singing is relevant, especially now, when the modern international tradition and world performance experience are oriented towards singing in the original language, which requires mastering the specifics of singing in foreign languages. The education of future teachers of musical art for professional activity is interpreted as an effective means of their musical, professional and pedagogical development. Vocal pronunciation is considered as a special activity that differs from purely pronunciation in a foreign language in that it is based not on the verbal processes, but on singing and is subject to the laws of singing. The phonetics of the language affects the creation of a “sound” image, as well as on sound formation, that is actually a vocal technique. Literacy, the culture of vocal speech is based on the laws of diction and the norms of the literary language, which are determined by the phonetics of a particular language, as well as the “norm” in singing in this language.Scientific novelty in the research of vocal and speech skills may consist in the development and implementation of innovative approaches, methods and technologies aimed at improving the quality and effectiveness of vocal training and speech training.

CHORAL WRITING AS A FUNDAMENTAL FACTOR IN THE PRACTICAL ACTIVITY OF A CONDUCTOR

Olena Zaverukha — 2025-05-26

The article examines choral writing as a fundamental factor in the practical activity of a conductor. It is substantiated that choral writing in conducting is a performative category aimed at realizing the composer’s artistic intent. It is established that the conductor implements the choral score through its analysis, interpretation of the verbal elements of choral writing, and embodiment of the ideological and artistic essence of the piece. It is revealed that the analysis of choral writing is important for the conductor’s understanding of the work and is aimed at selecting means and methods of expressive performance to uncover the composer’s vision. The analysis of the literary and musical text, as well as the structural elements of the choral work, is intended to reveal the artistic image. While analyzing the score, the conductor should form an imaginative sound picture of the piece with its structural and dramaturgical features.Correct interpretation of the verbal text promotes understanding of the composer’s idea and the dramaturgical solution of the work.The interpretation of the verbal text of a choral work may vary depending on the artistic goals set by the conductor. All dynamic nuances, articulations, and tempo changes are interpreted by the conductor depending on the artistic content and performance interpretation.The embodiment of the artistic content of the piece is realized through the conductor’s manual technique. It is shown that choral writing is a symbolic category realized through performance. It is substantiated that in the work of a choral conductor, choral writing serves as a means of implementing the artistic and figurative content of the work, which is revealed through performance interpretation.It is confirmed that the conductor’s realization of choral writing is a performance category aimed at expressing the artistic content of the piece. Choral writing helps the conductor form the semantic dimension of the work in its actual sound.

THE PIANO WORKS OF LUDMYLA YURINA: GENRE, STYLE AND PERFORMANCE DIMENSIONS

Mariya Kalashnyk — 2025-05-26

The purpose of the work to identify genre, style and performance features of L. Yurina’s piano works. The methodology of the study is based on comparative guidelines and based of the principles of cultural, hermeneutical, performance, genre and style approach.The scientific novelty of the work lies in determining the specifics of piano works “Riturnelles”, “Glass-elegy”, “Shadows and Ghosts” and “Angel of the White Day” by L. Yurina, which are not yet mastered in the modern musicological discourse.The article substantiates the orientation of L. Yurina’s piano works towards testing new semantic and expressive horizons of piano art and representing the integrational dimension of metamodern multiculturalism. It is shown that in “Riturnelles” and “Glass-elegy” this is manifested in the context of the homage tradition, respectively, in appeals to Baroque musical thinking, the romantic cycle of piano miniatures, serial technique, and minimalist and impressionist modification of the elegy, as well as in the emancipation of sound as a carrier of meaning. The specificity of the genre, style and expressive horizons of the works if the performance dimension determines the need to form an emotionally filled, existential space of performance reflection, to create a meaningful mental connection between discrete constructions and a continuous perceptual connect. It has been found that the historical and cultural synthesis in the “genre-neutral work “Shadow and Hosts” is determined by a combination of allusions to Baroque contrast, marked of sacred and secular traditions, appeals to the concept of the romantic circle, and positioning the work as open one. The testing of extreme means of expression in the work at the performance level involves the activation of performance plasticity and the mastery of “advanced” techniques. The miniature “Angel of the White Day” demonstrated the modulation of piano art into the sacred conceptual realm. As signs of the highest spiritual values, the allusions of bell-lіke sounds in the work appear in the context of historical and stylistic synthesis – a combination of minimalism and impressionism. The performance dimensions of the work demonstrate the importance of introspective reflection aimed at intensifying the comprehension of the eternal relevance of spirituality.

THE THEME OF WAR AS A CONCEPT OF THE ALBUM «FATA» INDIE ROCK BAND «VIVIENNE MORT»

Mykyta Konovalov — 2025-05-26

The relevance of the research lies in its focus on the conceptual album «Fata» by the Ukrainian indie rock band «Vivienne Mort», which serves as an emotional and intellectual reflection on the events of the war in Ukraine. The aim of the research is to outline the conceptual foundation of «Fata» by «Vivienne Mort», and to identify its main thematic and narrative-dramaturgical lines that reflect the realities of life in Ukraine during wartime. The methodology of the research involves the analysis of the lyrics and music of the album’s songs, based on which the symbolic framework is interpreted and the musical dramaturgy and key concepts are characterized. The scientific novelty of the research lies in the characterization of the conceptual album «Fata» by «Vivienne Mort», the determination of its role in shaping new meanings within Ukrainian culture during the war, and the expansion of understanding regarding the place of indie rock within the Ukrainian cultural and artistic space. Conclusions. «Fata» by «Vivienne Mort» is a cohesive philosophical and emotional narrative that depicts the complex journey of an individual during times of war. Through the symbolism of the veil (fata) as both a protective talisman and a representation of fate, the album conveys a wide range of emotions – from the pain of loss to the hope for renewal. The album blends indie rock with Ukrainian folk elements, strengthening the national identity of the work. Its sound palette is broad – ranging from intimate lyricism to elevated climaxes, emphasizing the drama and emotional depth of the content.Each composition explores a particular aspect of human existence under the conditions of war, forming several overarching lines that unite the songs not only thematically but also musically through expressive and dramaturgical techniques. «Fata» stands as the voice of a generation learning to live under new circumstances, accepting their fate with dignity and an inner light.

CONCEPTUAL JUSTIFICATION OF A CRITICAL APPROACH TO THE MODERN DEFINITION OF THE ROLE OF THE SOUND ENGINEER IN THE ART OF MUSIC

Oleksii Koriakin — 2025-05-26

Modern trends in the evolution of musical art cause a review of the place and role of all creative specialists in it, in particular, sound engineers. Accordingly, the conceptual substantiation of the critical approach to defining the role and functions of the sound engineer and the factors of reviewing the content of the sound engineer’s activities in modern conditions require a thorough analysis. To specify the place and role of the modern sound engineer, the state of the music industry at the beginning of the 21st century is characterized in terms of the curtailment of the creative component and the increase in the pattern of creative projects implemented by sound engineers, as well as the determined factors that caused the specified trends. The article substantiates the contribution to the modern definition of the role and functions of the sound engineer of the American composer and musicologist John Cage, the Canadian composer, writer and environmentalist Raymond Murray Schafer, and the American ethnomusicologist Alan Lomax. The concept of «uncertainty» and «randomness» of J. Cage; concept of soundscape and background and foreground of listening R. Murray Schafer; the role of music in culture and fixation of culture in recordings by A. Lomax in the context of modern sound engineering where analyzed. It is concluded that a modern sound engineer should comprehensively understand the purpose and tasks of sound engineering and sound recording; appreciate technology and determine its role in sound engineering; to look for new creative solutions, and also should not reject the sound environment. It is emphasized that the application of the outlined approach will allow to create more aesthetically and culturally meaningful projects that actualize sound engineering as a type of creative activity in the field of musical art. It should also be noted that the proposed critical approach should not be considered as a universal standard that can be applied to all projects in the modern music industry.

THE MESSIAH OF UKRAINIAN MUSIC: THE WORK OF MYKOLA LYSENKO SECOND HALF OF THE 19TH CENTURY

Liudmyla Kokhan — 2025-05-26

The figure of Mykola Lysenko as a Messianic figure in Ukrainian music of the second half of the 19th century is considered. The multifaceted activity of the composer, which covers the collection, processing and popularization of Ukrainian folklore, the creation of nationally oriented musical genres (opera, cantata, choir, chamber and instrumental music), the organization of musical and educational work (the foundation of choirs and concert trips in Ukraine), pedagogical activity, has been substantiated. The influence of Taras Shevchenko’s work on the ideological and artistic principles of Lysenko was revealed, and his first work, the Testament, as a spiritual and musical manifesto of the composer, a kind of semantic epigraph to all his works, was characterized. A new look at the “Heruvim” as a bold experiment at the junction of tradition and innovation is established: The work is interpreted not only as spiritual, but also as modern in form and harmony. The stylistic, genre and ideological and semantic features of Lysenko’s music are analyzed, which define it as a semiotic system with codified national archetypes. The influence of Lysenko on the development of the Ukrainian musical tradition in all the territory of Ukraine, his connections with other artists of the era, participation in the creation of a single national cultural space. The role of Lysenko in establishing the Ukrainian identity through music as a form of spiritual resistance and enlightenment in the conditions of imperial oppression is emphasized. It has been proved that Mykola Lysenko’s activity constitutes an original symbol of the mesianism of the Ukrainian intelligentsia in its aspirations to increase the national culture to the European level and to create an original musical language that would speak to every Ukrainian. The attention is focused on the relevance of Lysenko’s ideas in the modern national-cultural discourse.

VOCAL CYCLE AS A REPRESENTATIVE OF THE MODERN POETICS OF CHAMBER-VOCAL MUSIC

Qing Liu — 2025-05-26

The article is a precedent for the musicological study of modern national interpretations of the vocal cycle in the dimensions of the poetics of chamber-vocal music poetics. The purpose of the article is to identify the main trends in the conceptual, thematic- figurative and linguistic-expressive interpretation of the genre model of the vocal cycle as indicator of the modern poetics of chamber- vocal music.The article substantiates the correlation of the genre model of vocal cycle in the works of contemporary Ukrainian composers with the search for new dimensions of artistic reflection, consonant with the guidelines of the cultural paradigm of postmodernity, activation of cross-cultural communication, understanding of cultural as a whole and aimed at preserving the attributive foundations of the poetics of chamber-vocal music and multi-level modification of this genre. It is shown that at the meta-level of the poetics of chamber-vocal music modern national versions of the genre model of the vocal cycle are marked by: preservation of the lyrical basis; active introduction of landscape, civic and patriotic images; preservation of the significance of the «eastern» line of the genre; testing of ironic and satirical themes; poly-language, etc.It was found that at the macro-level of poetics, the vocal cycle demonstrates: the significance of the principle of meditativeness and reflexivity; projection into the horizons of mass culture; at the meso-level – the multi-directionality of innovative, individual, multi- level style and genre searches, stylistic eclecticism, preservation of attributive multi-part cyclicity, and testing if reduced forms in connection with the orientation to the genre indicator of Fine Art – triptych and diptych.The article states that that the micro-level of poetics, the vocal cycle is characterized by the expansions of the intonation and timbre thesaurus, the equalization of the statuses of vocal and instrumental principles, the testing of a complex of means for reproducing the comic principle, which determines the formation of a new meta-language of musical art and new ways of performing self-realization.

ARCHETYPES OF UKRAINIAN CULTURE IN MUSICIAN DISCOURSE

Weiwei Li — 2025-05-26

The article reviews scientific musicological works devoted to the archetypes of Ukrainian culture and their embodiment in the works of Ukrainian composers. Given the diversity of research on this issue, the article attempts to systematize them by identifying two research directions: 1) with a significant theoretical and methodological basis for studying the complex phenomenon of the archetype; 2) with a focus on the embodiment of specific (individual) archetypes in musical works. The analysis of the works demonstrated both the effectiveness and conventionality of such a division, because in thorough theoretical works, as a rule, an analysis of individual archetypes is contained and ways of their implementation in works are studied. To outline the research area, a comparative analysis of the systems of archetypes systems of Ukrainian culture, presented in the works of philosophers, cultural scientists, and art historians, was carried out. It was found that there is no single system of archetypes, which does not deny the presence of semantic intersections between the works of different authors. The analyzed scientific works emphasize the efforts of researchers to outline the semantic boundaries of the concept of «archetype» and to explore the related concept of “archetypal image” (M. Severynova) and myth (G. Kukharyk). Attention is paid to the study of individual archetypes: Triple Music (I. Zinkiv), Kupala (A. Gladyshko), Rebirth (G. Plecheliuk), spring rites – Light, Water, World Tree (Yu Alzhnev, V. Osadcha). It is noted that some archetypes are not contained in philosophical and culturological scientific works, but are considered by the authors as archetypes of Ukrainian musical culture. To achieve the goal, the article uses analytical, systematic, comparative research methods.

PIANIST`S UNIVERSALISM AS A PROFESSIONAL IMPERATIVE

Pingting Li — 2025-05-26

The article is devoted to the identification of the leading vectors of the universalism of the modern pianist. The scientific novelty of the article lies in the substantiation of creative universalism as an imperative of the modern professional activity of a pianist. The article highlights such manifestations of universalism as: pianism`s permanent focus on creating a universal image of a musical work as a holistic union of the worlds of the performer and the composer, the past and the present of musical art; stylistic pluralism of performance modes – the guidelines of historically informed performance, Beethovenian and Mozartian performance vectors and the tendency of pianist to create new stylistic dimensions corresponding to the innovativeness of contemporary musical art. The importance of the systemic dimensions of the pianist`s universalism is emphasized, which is determined by the multidimensionality of performing ad teaching activities, the systemic nature of the piano school phenomenon and its dichotomous focus on the representation of national artistic world and cross-cultural communication. The universalism of the concertmaster`s multifunctional activity, based on the unity of pedagogy, performance and psychology, as well as the universalizing professional thesaurus, is highlighted. It is substantiated that the digitalization of modern pedagogical and performing activities forms new dimensions of the concertmaster`s universalism associated with the modulation into the online format and the imperative need to master technical skills while maintaining creative empathy, focus on a tolerant, harmonious combination of individual and collective principles, and the unity of creative worlds. The author notes the tradition of emphasizing the civic and national components of the performer`s self-presentation and the formation of vectors of the pianist`s universalism, which were actualized at the turn of the XX – XXI centuries, aimed at creating a modern image of Ukraine, representing national axiological systems and intensifying cross-cultural dialogue through the promotion of Ukrainian piano music, creating joint art projects, multimedia projects, etc.

CRITERIA FOR THE SELECTION OF MODERN UKRAINIAN REPERTOIRE FOR GUITARISTS IN ART EDUCATION INSTITUTIONS

Amalia Martemyanova — 2025-05-26

The article is devoted to the problems of selection of modern Ukrainian repertoire for guitarists in art education institutions.The relevance of the chosen topic is determined by the need to create a high quality educational environment that integrates the professional training of performers with nationally oriented artistic priorities. The study analyzes the criteria for repertoire breeding, taking into account pedagogical, technical and aesthetic factors.Pedagogical criteria cover the compliance of musical material with the age and psychophysiological features of students, adherence to the principle of gradual complication of performing tasks, as well as the presence of a clearly defined didactic purpose of each work. The technical requirements of the repertoire are considered through the prism of the level of complexity, specifics of performing techniques and applique capabilities of modern compositions. The aesthetic aspect of selection implies an emphasis on a national intonational basis, genre-style models and artistic value of musical works.The article analyzes the current trends in the development of Ukrainian guitar music, including the integration of folklore sources with modern composer technology. Among the authors whose work is a potential repertoire resource for the educational process at different stages of preparation, is distinguished: Alina Boyko (“Variations on the theme of the Ukrainian folk song”, “Oh whose horse stands”, “Oh you, girl, from a nut of grain”,“Monologue”); Fyodor Bernat (Ukrainian ballad on the topic of folk song "My Mother Mother"); Oleksandr Kotnchenko (Nocturne); Constantine Chechen.The conclusions substantiate the need to implement a systematic approach to the formation of repertoire policy in art education, as well as the prospects of further development of curricula, in particular by creating specialized collections of contemporary Ukrainian guitar music, supplemented by methodological recommendations.

THE TROMBONE IN DIGITAL MEDIA: FROM TRADITIONAL PERFORMANCE PRACTICES TO MULTIMEDIA PROJECTS

Yevhenii Martianov — 2025-05-26

The article examines the evolution of the trombone as a traditional kinstrument of the symphony orchestra, which, due to the technological advancements of the 21st century, has transformed into a multifunctional component of the digital musical environment and multimedia projects. Particular attention is paid to the impact of digital technologies on performance techniques, repertoire, and the sonic capabilities of the instrument, as well as its integration into modern musical genres such as jazz, pop, and electronic music. Special emphasis is placed on the application of the trombone in audiovisual formats, including virtual concerts, interactive installations, and VR/AR technologies.The study focuses on how digital platforms, such as Ableton Live and Max/MSP, enable the combination of the trombone’s acoustic sound with electronic effects such as reverb, distortion, and sampling. This significantly expands the instrument’s potential, allowing for the creation of unique sound textures that not only enrich the existing repertoire but also facilitate its adaptation to the contemporary digital environment.The article explores innovative playing techniques on the trombone that are utilized in conjunction with digital technologies. For instance, multiphonics and glissando have become essential for performers working with digital effects, providing the instrument with new expressiveness. The interactivity of the trombone in VR/AR projects enhances its audience perception, allowing the instrument to be used not only as a sound source but also as a communication tool that responds to audience actions or environmental changes.Based on an analysis of multimedia projects and interactive platforms, the article demonstrates how the trombone becomes a key instrument for creating innovative artistic forms. Projects such as «Tube Space II» by D. Kurlandsky illustrate that the trombone can serve not only a musical function but also act as a medium for the interaction of sound, imagery, and space.The findings of the study indicate that the trombone is adapting to the contemporary challenges of the digital era, surpassing its traditional usage. The instrument becomes a platform for innovative experiments, integrating into new audiovisual formats, VR/AR technologies, and digital music environments. Future research prospects include the use of artificial intelligence to create interactive musical compositions with the trombone and the development of software for integrating the instrument into multimedia projects.

IMPROVISATION AND PSYCHOPHYSICAL TRAINING OF AN ACTOR: MODERN METHODS AND STAGE PRACTICE

Oksana Mykhailiuchenko — 2025-05-26

The article explores modern improvisation methods and psychophysical training as key tools in the preparation of musical drama theater actors. Special attention is given to the integration of dramatic acting, vocal performance, and physical expressiveness, which are defining aspects of artistic mastery in this genre. The significance of bodily expressiveness, vocal-dramatic improvisation, and physical training in shaping stage organicity is analyzed.Key methodologies are examined, including biomechanical techniques, the psychophysical approach, and the integration of cutting- edge digital technologies such as VR and Motion Capture in actor training. It is noted that a musical drama theater actor must possess synchronized coordination of voice, body, and emotional state, which requires specialized training methods aimed at developing stage adaptability, rhythmic plasticity, and vocal-physical unity.The practical application of these methods is illustrated through examples from renowned theaters and acting schools that actively incorporate improvisational and psychophysical techniques into their training programs. It is determined that improvisation in musical drama theater facilitates the organic combination of dramatic and vocal expressiveness, adaptation to the rhythmic structure of musical pieces, and flexible responses to changes in tempo and dynamics of a performance.The research findings indicate the necessity for further development of comprehensive approaches to training musical drama theater actors, incorporating both classical and innovative methodologies, the integration of digital technologies, and deeper collaboration with accompanists. Promising areas for further study include the advancement of vocal-dramatic improvisation, research into methods of physical expressiveness, and the evaluation of the effectiveness of digital technologies in the training process of actors in this genre.

DOUBLE BASS IN CHAMBER MUSIC OF THE BAROQUE PERIOD (ON THE EXAMPLE OF THE TRIO-SONATAS BY Y. D. ZELENKA)

Zoltan Solanskyi — 2025-05-26

The article explores the role of the double bass in chamber music, with particular focus on the Baroque period. In the musical practice of the 16th-17th centuries, the violone (double bass) was actively used in the church, opera and chamber repertoire, which is confirmed by both musical sources and visual materials of that era. During the period of formation of the homophonic style (1600– 1750), known as the era of the basso continuo, a special group of continuo accompanying instruments (basso continuo) appeared alongside melodic voices – vocal and instrumental. Leading musicians of that time emphasized the important role of the stringed bass instrument, which ensured the integrity of the Baroque sound. Trio sonatas, as one of the early forms of chamber music, played a significant role in the musical culture of the 17th century, both in the genre of church sonata (Sonata da chiesa) and secular (Sonata da camera). The typical instrumental composition of a trio sonata included two treble voices that carried and developed thematic material, and a bass line with a digitized bass. Various instruments were used to perform the bass part, but the preference was most often given to the violone, especially in cases where the upper voices were performed on string instruments. In the process of developing concert practice, the soft sound of the viol is gradually replaced by instruments of the violin family, which have a more expressive and bright timbre. In parallel with this, an orchestra is formed, the composition and instrumentation of which gradually expands over time. The research examines the instrument's functional position within ensembles and its evolution from an accompanying to a melodic role. Special attention is given to the trio sonatas by Jan Dismas Zelenka as an example of an underexplored repertoire, offering new pedagogical and performance perspectives. The study highlights the importance of the double bass in ensemble interaction and its expressive potential within the framework of historical performance practice.

RESONANT METHOD OF VOICE PRODUCTION AS THE BASIS OF VOCAL TECHNIQUE: THEORETICAL ASPECT

Lesya Tarasyuk — 2025-05-26

The article considers the resonant method of voice production as one of the key foundations of vocal technique, which contributes to the formation of a natural high-quality and stable sound. The physiological and acoustic principles of sound formation are studied, in particular, the role of resonators in enhancing overtones, ensuring timbre coloration and maintaining uniform sound in all voice registers. The importance of natural vocal resonance for the development of vocal endurance, economical use of the vocal apparatus and preventing its overstrain is revealed.The historical traditions of using the resonant method in the world vocal school are analyzed, in particular, in the Italian bel canto technique, the German vocal school and the French singing style. Modern approaches to the use of this method in Ukrainian vocal pedagogy and its adaptation in the conditions of digital teaching technologies are outlined.Special attention is paid to scientific approaches to studying the influence of resonant mechanisms on the quality of vocal sound.Acoustic studies of spectral analysis of the voice are reviewed, confirming the effectiveness of the active use of head, chest and mixed resonance in the formation of professional vocal technique.The practical part of the article highlights exercises and methods for developing resonant sound, in particular, exercises for activating the upper and lower resonators, techniques for amplifying sound waves in the oral and nasal cavities, as well as the role of respiratory support in controlling resonance. Examples of integrating the resonant technique into the educational process of student vocalists are given, its effectiveness in developing individual timbre and expanding the vocal range is determined.The following theoretical methods were used in the research process: analysis of scientific, methodological and pedagogical literature on vocal art; empirical methods: observation of the educational process of vocalists; analysis of pedagogical experience in applying the resonant method; comparative method: studying the effectiveness of different approaches to the formation of vocal technique.

SONNET IN CHAMBER VOCAL MUSIC OF MYKOLA DREMLYUHA

Daria Shutko — 2025-05-26

Chamber vocal miniatures by well-knowm Ukrainian Composer M. V. Dremlyuha (1917–1998) is analyzed in the article. These romances were created within the period of 1973–1876 and written on sonnet lyrics of Ukrainian and foreign poets of the past and contemporainity. These works, which characterize brightly M. Dremlyuha as an insightful artist-lyricist, are considered in the context of social and cultural circumstances of the period given – the second half of the 20th century. In the process of analysing of a number of romances on the words of F. Petrarch, Michelangelo and W. Shakespeare the attention was mostly focused on essential elements of the composer's musical language (melody, harmony, rhythmical and textural nuances). Since in the process of the research the mechanism of coordination of musical and literary components of a chamber vocal work evoked special interest of the author of this article, the composer's search of the sonnet structural canons' embodiment into the context of musical form has been given priority.The objective of the research is revealing of characteristic stylistic and conceptual specificities of M. Dremlyuha's romances, written on sonnet lyrics of Ukrainian and foreign poets. In the process of the research of M. Dremlyuha's chamber vocal music of the period of 1973–76 were used the following methods: the analytical and descriptive one (for characterizing of stylistic and conceptual peculiarities of romances by M. Dremlyuha), the method of historical analysis (to clarify the circumstances of the creation of the researched works), and the method of system analysis (for generalization and producing intermediate and final conclusions). Mykola Dremlyuha's musical sonnetarium is still an uninvestigated field. It only was researched in one article. In our research for the first time the analysis of a number of M. Dremlyuha's romances was made in the context of specifics of the composer's interpretation of sonnet structure.The collection of M. V. Dremlyuha's musical sonnets exposes brightly the lyrical aspect of his versatile creative individuality. The vocal miniatures analysed are noted for their organicity and elegance of structure, richness of melodical, harmonical and rhythmical palette, well-developed, expressive and texturally diverse piano parts, which often are not just an accompaniment.

FUNCTIONS OF MUSICAL TIMBRE: TOWARDS AN ANALYTICAL GENERALIZATION

Khrystyna Yurko — 2025-05-26

The article investigates the functions of musical timbre as a multidimensional phenomenon that, in contemporary music thinking, transcends the traditional view of timbre as merely an acoustic characteristic. This shift is influenced by the emergence of electroacoustic music, the adoption of new compositional techniques (including spectral methods, electronics integration, and extended performance techniques), transformations in listening practices, and the growth of interdisciplinary research in psychoacoustics, neuroaesthetics (emotional impact of sound, brain responses), and cognitive musicology (perception mechanisms, memory, timbre identification, and neural processes linked to musical experience). These developments highlight the need to reassess timbre’s role in composition and analysis. The article aims to provide an analytical overview of timbre functions based on a comparative study of perspectives from 20th–21st century composers and musicologists, and to offer an original typology covering theoretical, practical, cognitive, and semantic dimensions. The functional, systemic, and comparative methods used in the study allow the tracing of timbre’s conceptual evolution across aesthetic paradigms. Works analyzed include those of E. Varèse [14], P. Boulez [6], K. Saariaho [10], Y. Ishchenko [3], D. Smalley [12], I. van Elferen [13], S. Korobetska [5], O. Zharkov [1; 2], R. Kashyrtsev [4], R. Pace [9], N. di Stefano [7], S. Liu [8], among others. The article highlights varied approaches to understanding timbre as a structural, emotional, semantic, spatial, and performative element. The proposed typology includes compositional-structural, generic, stylistic, emotional, cognitive, semantic, expressive, spatial, and processual functions.

SAXOPHONE QUARTET AS A FORM OF ENSEMBLE PERFORMANCE: HISTORY AND SPECIFICITY

Kyryl Yazykov — 2025-05-26

The article explores the history and specifics of the saxophone quartet as a special form of ensemble performance. The research covers the period from the invention of the saxophone by Adolphe Sax in 1842 to contemporary Ukrainian saxophone quartets. The author meticulously traces the evolution of the saxophone quartet as an established musical ensemble, beginning with the early attempts by Edward Lefebre, and provides a detailed analysis of the iconic “Marcel Mule Quartet”, founded in 1928, which played a significant role in saxophone art history.The paper presents an analytical overview of the saxophone quartet repertoire from various periods – from early transcriptions to original compositions by French composers (P. Vellones, G. Pierné, J. Absil, E. Bozza, C. Pascal, A. Desenclos). The author traces the spread of this form of ensemble performance across different countries, with particular attention to the emergence and development of saxophone quartets in Ukraine. A significant portion of the article is devoted to the history of the first professional Ukrainian saxophone quartet – the Kyiv Quartet led by Yuriy Vasylevych, established in 1985. The author analyzes the ensemble's repertoire policy, which includes both classical pieces for saxophone quartet and numerous works by contemporary Ukrainian composers (Y. Stankovych, V. Runchak, I. Karabyts, L. Yurina, K. Tsepkolenko, and others). The study also examines other Ukrainian saxophone quartets: “SaXes”, Lviv Saxophone Quartet, “Avangard Quartet”, “Saxophobia Quartet”, and others. The author notes the importance of quartet performance for the professional development of saxophone musicians and substantiates the value of this form of ensemble music-making in the context of contemporary Ukrainian musical culture.

CHINESE PIANO MUSIC: MODE FEATURES

Olha Yeremenko — 2025-05-26

The problem of Chinese piano performance formation is considered, which is caused by the need to apply integration processes of world musical art, associated with the specifics of the implementation of European genre traditions in Chinese piano music. The technique of citation, which consisted in transferring a folk melody to the musical text of a piece, was widely used in piano works. It is emphasized that the modal basis of the pentatonic scale conveys a unique folk flavor. The most common methods of interaction between the harmony of the national melody and classical European harmony are substantiated. The treatise “Guanji” is characterized from the point of view of considering the degrees of the pentatonic scale. The pentatonic scale is highlighted in the context of its verbal and semantic meaning, as well as color and astral associations, which ensures the reflection of specific natural sounds of each of the degrees. It is concluded that the pentatonic scale was formed in close connection with the development of the semantic and intonational features of the Chinese language. Existential dimensions of worldview allow us to note that against the background of European culture, the connections between melos and language in China, the innate intonational sensitivity of the Chinese, their ability to “feel” and “reproduce” almost imperceptible intonational fluctuations become obvious.It is determined that Western music is gradually occupying an important place in Chinese musical and cultural life. Attention is focused on the specific features of mode in the process of Chinese piano music formation. It is noted that piano works attract the attention of artists and listeners not only in China, but also abroad. It is substantiated that the integration processes ensure compliance with the norms of using the performing experience of the West by Chinese pianists, taking into account certain features of presenting the semantic sphere of the musical text. It is found out that a powerful breakthrough in the development of scientific musicological thought is important for demonstrating a significant contribution to the development of the problems of modern piano art in China. Promising directions for studying mode features in the field of other genres of instrumental, chamber-vocal, symphonic, theatrical activities are predicted.

THE EVOLUTION OF CHAMBER INSTRUMENTAL ENSEMBLE GENRES IN THE EUROPEAN MUSICAL TRADITION

Andrii Yeromenko — 2025-05-26

The article examines the evolution of chamber instrumental ensemble genres in the context of the European musical tradition from the Baroque to the present. During the eighteenth century, the chamber-instrumental ensemble gradually acquired greater structural certainty, which in the Classical period resulted in the formation of genre canons - primarily the string quartet, piano trio, sonata for violin and piano, quintet, etc. The works of J. Haydn, W. A. Mozart, and L. van Beethoven lay down the basic principles of the chamber music genre: equality of parts, melodic completeness, thematic development, dialogue, etc. These features not only codify the genre system, but also open up space for further stylistic trends.In the Romantic era, chamber music, while retaining the features of refined musicianship, develops in the direction of romantic sophistication, emotional intensity and national colour. The genre framework is expanded by the introduction of new instrumental compositions, the growing role of the piano, and the enrichment of harmonic language and texture. A decisive contribution to the development of the chamber ensemble was made by F. Chopin, F. Schubert, J. Brahms, F. Mendelssohn, R. Schumann and others, who combined the classical form with new expressiveness. At the turn of the nineteenth and twentieth centuries, the first attempts to rethink the chamber form in a modernist context appeared: the experimental role of the ensemble increased, the use of new composition techniques intensified, and the principles of thematic fragmentation and polyphonic multidimensionality were formed.In the twentieth century, the chamber instrumental ensemble acquired signs of a search for new artistic models. A special place is occupied by the works of representatives of the ‘second Viennese school’, neoclassical and avant-garde composers, as well as composers who integrate elements of jazz, folklore and electronic music. Chamber music genres are increasingly taking on unconventional forms: non-standard composition, open structure, improvisation, and interaction with multimedia elements. At the same time, the deep tradition of chamber music as a space for spiritual communication, dialogue and concentration of musical thought is preserved.Thus, the evolution of the chamber instrumental ensemble genres reflects the general processes of development of the European musical tradition: from normative canonicity to individualised experimentation. The chamber instrumental ensemble acts as a genre phenomenon, a cultural phenomenon that constantly acquires new aesthetic, stylistic and genre paradigms.