UKRAINIAN TRUMPET SCHOOL: THE PERSONAL DIMENSION OF THE PERFORMING TRADITION

Abstract

The article examines transformational processes in the modern Ukrainian trumpet school under the influence of globalization, digitalization, and increased academic mobility. The authors’ approach involves a fundamental rethinking of the traditional understanding of a «performing school» as a closed territorial structure. Instead, it is proposed to view it as a network model, where the personal dimension of a musician’s professional development becomes the decisive factor. New theoretical perspectives on the analysis of the national performing tradition illustrate the blurring of boundaries between local centers (Kyiv, Lviv, Odesa, Kharkiv, etc.). The concept of the «invisible college», proposed by A. Zuccala, is adapted to the analysis of trumpet art in Ukraine. Within its framework, a performing school is regarded as an informal network of professional communications maintained through personal connections, shared mastery of playing technologies, and an active exchange of experience beyond official institutions. The article proves that the modern trumpeter builds their professional identity firsthand, accumulating knowledge from several mentors, integrating experience from working in various orchestral ensembles, and utilizing global digital resources. A separate section of the article presents an analysis of the creative trajectories of its authors, whose biographies serve as representative examples illustrating the interpenetration of performing traditions from different regional centers in Ukraine and abroad. It is demonstrated that even if a student receives their entire education within a single city, the performer remains a subject of multicultural influences through their mentors, who transmit a synthesized experience to their pupils. The study substantiates that the Ukrainian trumpet school is evolving from a model of territorial attachment to a system of personalized experience, where local characteristics become dynamic elements of a unified national process. The article’s conclusions emphasize that the decentralization of tradition and the transition to the «invisible college» network model ensure the viability and competitiveness of Ukrainian brass art in the global cultural space.