No. 1 (2024): Sloboda Art Studies

Статті

• MUSICAL FESTIVAL AS FORM OF CULTURAL CREATION

  Iryna Bermes

  7-11

  • PDF (Українська)

• ПРАКТИЧНІ РЕКОМЕНДАЦІЇ КОНЦЕРТМЕЙСТЕРУ ДЛЯ САМОСТІЙНОЇ РОБОТИ НАД МУЗИЧНИМ ТВОРОМ

  Iryna Boiko

  12-15

  • PDF (Українська)

• THEATRICAL ARTIST IVAN GRIGOROVYCH KUROCHKA-ARMASHEVSKY: STAGES OF LIFE AND CREATIVE PATH

  Dmytro Budyansky

  16-20

  • PDF (Українська)

• FEATURES OF THE DEVELOPMENT OF MUSIC PEDAGOGY AND EDUCATION OF THE RENAISSANCE IN THE EUROPEAN AND UKRAINIAN DIMENSIONS

  Oksana Velychko, Iryna Makovetska

  21-25

  • PDF (Українська)

• MAIN STAGES OF THE EVOLUTION OF MUSICAL INTERACTION BETWEEN CHINESE AND WESTERN MUSICAL TRADITIONS

  Enyi Dan

  26-29

  • PDF (Українська)

• FOLK INSTRUMENTAL PERFORMANCE OF CHINA

  Natalia Yeromenko, Oleksandr Stakhevich

  30-34

  • PDF (Українська)

• THESAURUS CONCERTMASTER: SYSTEM APPROACH

  Alla Kalashnykova

  35-39

  • PDF (Українська)

• GENRES OF VIOLIN MUSIC IN THE WORK OF KHARKIV COMPOSERS 1920–1930 YEARS

  Yaroslav Kalynychenko

  40-45

  • PDF (Українська)

• CHORAL COMPONENT IN THE INNOVATIVE PRODUCTION OF G. MEYERBEER’S “LES HUGUENOTS” IN MANNHEIM

  Tetiana Kyselova

  46-49

  • PDF (Українська)

• ACTUALITY OF BAROQUE MUSIC INTERPRETATIONS IN CONTEMPORARY CULTURAL SPACE (USING THE MATERIALS OF “EARLY MUSIC” JOURNAL)

  Iryna Kodenko

  50-55

  • PDF (Українська)

• MUSICAL AND IMAGINARY SEMANTICS OF THE CHORAL WORK BY S. VOROBKEVICH TO THE WORDS OF T. SHEVCHENKO “FLAMES ARE BURNING”

  Olga Kozii

  56-59

  • PDF (Українська)

• STYLISTIC CONDITIONS OF THE CONSTRUCTION OF VIRTUAL SPACE IN SOUND ENGINEERING OF JAZZ MUSIC

  Oleksii Koriakin

  60-64

  • PDF (Українська)

• ORIENTAL IMAGES IN EUROPEAN THEATRICAL BAROQUE MUSIC

  Yulin Lin

  65-69

  • PDF (Українська)

• OLEKSANDR RODIN’S “MISSA LUMINOSA” – AN UPDATED VERSION OF THE MASS

  Oleksandr Makarenko

  70-73

  • PDF (Українська)

• VOCAL TRAINING BASED ON USING THE PHONETIC METHOD

  Valentyna Matiushenko-Matviichuk

  74-78

  • PDF (Українська)

• MICROCHROMATICS: THE SEARCH FOR NEW SOUND POSSIBILITIES IN FLUTE MUSIC

  Yaroslav Novosadov

  79-82

  • PDF (Українська)

• NEW METHODS OF PITCH FORMATION ON STRINGED INSTRUMENTS USING OVERTONE TECHNIQUES

  Stanislav Ostrovskyi

  83-92

  • PDF (Українська)

• THE CULTURAL MISSION OF SINGER ZORYANA KUSHPLER

  Solomiya Priymak

  93-96

  • PDF (Українська)

• ARTISTIC AND CREATIVE FIGURES OF THE ZHYTOMYR BAYAN TRIO “HARMONIA”

  Olena Rieznik

  97-107

  • PDF (Українська)

• CONCERT ARIAS BY WOLFGANG AMADEUS MOZART

  Oleksandr Rudenko

  108-111

  • PDF (Українська)

• PERFORMING ARTS OF UKRAINIAN TRUMPETERS OF THE LATE 20TH – THE EARLY 21ST CENTURY

  Petro Sorokin

  112-116

  • PDF (Українська)

• BEIJING PHILHARMONIC CHORUS REPERTOIRE 1980–1990’S: PANORAMA OF GENRES AND STYLES

  Fan Tang

  117-121

  • PDF (Українська)

• THE ROLE OF PSYCHOSOMATICS IN THE FORMATION OF FREE VOCAL SOUND

  Lesya Tarasyuk

  122-125

  • PDF (Українська)

• DRAMATIC FUNCTION OF THE CLARINET IN THE OPERATIC WORKS OF A. SALIERI

  Oleksandr Teremko

  126-129

  • PDF (Українська)

• FORMATION OF THE TERM “POSTBOP” IN THE SYSTEM OF MODERN JAZZ PERFORMANCE

  Nataliia Folomieieva

  130-135

  • PDF (Українська)

• INSTRUMENTAL TRADITIONS OF THE BAROQUE ERA IN THE CHAMBER AND INSTRUMENTAL MUSIC OF THE ARTIST OF THE COMPOSING SCHOOL OF THE CHERNIGIV REGION OF UKRAINE AT THE END OF THE 20’TH – THE FIRST QUARTER OF THE 21’ST CENTURY, OLEKSANDR IVANKO

  Iryna Tsepukh

  136-145

  • PDF (Українська)

• EVOLUTION OF THE CHINESE INSTRUMENTAL SCHOOL: HISTORICAL AND MUSICOLOGICAL ASPECT

  Sisi Zhu

  146-149

  • PDF (Українська)