No. 2 (2024): Sloboda Art Studies

Статті

• EDWARD GRIEG – PIANIST, ACCOMPANIST, ENSEMBLEIST, CONDUCTOR: FEATURES OF THE PERFORMING STYLE

  Galyna Glazunova, Andrii Yeromenko

  5-10

  • PDF (Українська)

• THE ORIGIN OF VIRTUOSITY IN THE CONCERT ARIAS OF W. A. MOZART

  Liting Guo

  11-14

  • PDF (Українська)

• ORGANIZATION OF A NON-SPECIFIC PIANO TEXTURE IN SONATA № 3 FOR CELLO AND PIANO BY YEVHEN STANKOVYCH

  Ievgeniia Golovan

  15-19

  • PDF (Українська)

• THE SOUND IMAGE OF THE ACCORDION IN THE CONTEMPORARY ARTISTIC SPACE

  Yevhen Zhyla

  20-24

  • PDF (Українська)

• MUSICAL THESAURUS AS AN ORGANIZATIONAL AND COORDINATING SYSTEM

  Maria Kalashnyk, Hanna Savchenko

  25-30

  • PDF (Українська)

• SPECIFIC INTERPRETATION OF THE CHOIR CONCERT GENRE IN CONTEMPORARY UKRAINIAN MUSIC (ON THE EXAMPLE OF THE CONCERT “MY MOUNTAINS” BY V. ZUBYTSKY)

  Vitaly Karas

  31-34

  • PDF (Українська)

• THEATRICALITY IN MODERN RITUAL ACTIVITIES: ASPECTS OF ENSEMBLE PERFORMANCE

  Yana Kyrylenko

  35-39

  • PDF (Українська)

• TACTUS AND TEMPO IN PARTES MUSIC

  Nataliia Kliuchynska

  40-45

  • PDF (Українська)

• FOLK DANCES AS EMBODIMENTS OF ARCHETYPAL IMAGES IN INSTRUMENTAL MUSIC BY UKRAINIAN COMPOSERS

  Weiwei Li

  46-49

  • PDF (Українська)

• THE TRADITIONAL CHINESE MUSICAL INSTRUMENT GUZHENG IN THE FOCUS OF SCIENTIFIC THOUGHT

  Qian Li

  50-53

  • PDF (Українська)

• EASTERN THEME AND SYSTEM OF EXPRESSIVE MEANS IN THE OPERAS OF GIACOMO ROSSINI

  Youling Lin

  54-58

  • PDF (Українська)

• “HALYCHIAN SUITE” BY MYKOLA DREMLIUHA – THE UNKNOWN BEGINNING OF HIS CHORAL WORKS

  Iryna Matiychyn

  59-63

  • PDF (Українська)

• PRIMARY EDUCATION IN ACCORDION AND BAYAN ART IN BUKOVINA: HISTORY AND PERSPECTIVES

  Oleh Mykytiuk

  64-69

  • PDF (Українська)

• SYNCHRONIZATION OF MUSICAL RHYTHM AND CHOREOGRAPHIC MOVEMENTS IN THE EUROPEAN AND LATIN AMERICAN PROGRAMS OF SPORTS AND BALLROOM DANCE

  Zakhar Omelianenko, Kateryna Omelianenko

  70-75

  • PDF (Українська)

• EVOLUTION OF SCHOOL ORCHESTRAS IN ASIA AND AUSTRALIA

  Yuriy Pakhomov

  76-80

  • PDF (Українська)

• THE PROBLEM OF EXECUTIVE INTERPRETATION OF A CHORAL WORK IN THE PROCESS OF PROFESSIONAL TRAINING OF THE CONDUCTOR-CHOIR MASTER

  Larysa Pushkar, Inna Kohan, Olena Hlamazdina

  81-85

  • PDF (Українська)

• PIANO CYCLE “TWO DIALOGUES WITH POSTSCRIPT” BY VALENTYN SYLVESTROV IN THE PERFORMING DIMENSION

  Stepan Solanskyi

  86-90

  • PDF (Українська)

• THE INFLUENCE OF THE VOCAL REPERTORY ON THE FORMATION OF THE STUDENT’S PERSONALITY

  Lesya Tarasyuk

  91-94

  • PDF (Українська)

• THE CONNECTION BETWEEN PERFORMING INTERPRETATION AND ORTHOEPY IN CLAUDE DEBUSSY’S VOCAL MUSIC (ON THE EXAMPLE OF THE ROMANCE “MOONLIGHT”)

  Valeriia Tulis, Oleksandr Stakhevich

  95-100

  • PDF (Українська)

• TRADITIONAL AND EUROPEAN IN THE CONTEXT OF THE DEVELOPMENT OF WIND INSTRUMENTS (ON THE EXAMPLE OF THE CHINESE FLUTE SCHOOL)

  Olena Ustymenko-Kosorich

  101-104

  • PDF (Українська)

• FREDERIC CHOPIN AND FRANZ LISZT: THE COMMUNICATION IN PIANO ENSEMBLE

  Olga Shcherbakova

  105-109

  • PDF (Українська)