No. 2 (2025): Sloboda Art Studies

Статті

• PROGRAMMING MODES IN UKRAINIAN CIMBALOM MUSIC

  Natalia Bashmakova, Viktor Dmitrenko

  5-9

  • PDF (Українська)

• CONTEMPORARY PRAISE SONGS IN WORSHIP CULTURE

  Tetiana Bulakh

  10-14

  • PDF (Українська)

• ASYNCHRONY AS A COMPONENT OF A PIANIST’S EXPRESSIVE MEANS

  Anatolii Harec

  15-20

  • PDF (Українська)

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

  Viktoriya Gigolayeva-Yurchenko, Olena Smyrna, Larisa Davidovych

  21-25

  • PDF (Українська)

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

  Lee Deshun

  26-31

  • PDF (Українська)

• VOCAL AND VERBAL CULTURE IN PROFESSIONAL TRAINING OF MUSIC TEACHERS

  Olga Dubovska, Anastasiia Adamian

  32-36

  • PDF (Українська)

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

  Olena Zaverukha, Olena Sbitnieva

  37-41

  • PDF (Українська)

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

  Mariya Kalashnyk, Olga Zhukova

  42-46

  • PDF (Українська)

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

  Mykyta Konovalov

  47-52

  • PDF (Українська)

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

  Oleksii Koriakin

  53-59

  • PDF (Українська)

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

  Liudmyla Kokhan

  60-67

  • PDF (Українська)

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

  Qing Liu

  68-72

  • PDF (Українська)

• ARCHETYPES OF UKRAINIAN CULTURE IN MUSICIAN DISCOURSE

  Weiwei Li

  73-77

  • PDF (Українська)

• PIANIST`S UNIVERSALISM AS A PROFESSIONAL IMPERATIVE

  Pingting Li

  78-82

  • PDF (Українська)

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

  Amalia Martemyanova

  83-87

  • PDF (Українська)

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

  Yevhenii Martianov

  88-92

  • PDF (Українська)

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

  Oksana Mykhailiuchenko, Valentin Ivanov, Vlad Altuhov

  93-98

  • PDF (Українська)

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

  Zoltan Solanskyi

  99-102

  • PDF (Українська)

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

  Lesya Tarasyuk

  103-107

  • PDF (Українська)

• SONNET IN CHAMBER VOCAL MUSIC OF MYKOLA DREMLYUHA

  Daria Shutko

  108-115

  • PDF (Українська)

• FUNCTIONS OF MUSICAL TIMBRE: TOWARDS AN ANALYTICAL GENERALIZATION

  Khrystyna Yurko

  116-120

  • PDF (Українська)

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

  Kyryl Yazykov

  121-126

  • PDF (Українська)

• CHINESE PIANO MUSIC: MODE FEATURES

  Olha Yeremenko

  127-131

  • PDF (Українська)

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

  Andrii Yeromenko, Nataliya Yeromenko

  132-135

  • PDF (Українська)