No. 3 (2025): Sloboda Art Studies

Статті

• FEATURES OF MODERN THEATRE MUSIC: COMPONENTS, FUNCTIONS AND DRAMATURGY

  Usein Bekirov

  7-11

  • PDF (Українська)

• UKRAINIAN MUSIC AND DRAMA THEATRE AFTER 2014: TRANSFORMATIONS, CHALLENGES, AND MODELS OF NATIONAL CULTURAL REPRESENTATION

  Maksym Bulgakov

  12-16

  • PDF (Українська)

• CONTEMPORARY INTERPRETATIONS OF UKRAINIAN CLASSICAL SOLO SONG IN VOCAL PERFORMANCE ART

  Svitlana Vyshnevska, Nataliia Shevchenko, Nataliia Fedorniak

  17-21

  • PDF (Українська)

• THE AESTHETICS OF SILENCE AND PAUSE IN MODERN GUITAR MUSIC

  Mikhaylo Honcharov

  22-26

  • PDF (Українська)

• HISTORICAL VOCAL REPERTOIRES IN UKRAINIAN ENSEMBLES OF THE LATE 20TH – EARLY 21ST CENTURY: A DISCOURSE OF HISTORICALLY INFORMED PERFORMANCE

  Mariia Hryhorieva, Olha Lihus

  27-32

  • PDF (Українська)

• READING MUSICAL NOTES FROM A SHEET OF PAPER AS AN IMPORTANT COMPONENT OF THE PROFESSIONAL DEVELOPMENT OF A FUTURE MUSIC TEACHER

  Tetiana Dorosh, Olena Turukina, Liudmila Dite

  33-37

  • PDF (Українська)

• THE ROLE OF THE TRUMPET IN THE INSTRUMENTAL GENRES OF THE BAROQUE ERA: HISTORY AND PERFORMANCE TRADITIONS

  Olha Yeremenko, Valentyn Lihus

  38-43

  • PDF (Українська)

• GENRE AND STYLISTIC SPECIFICITY OF CHAMBER-ENSEMBLE BANDURA PERFORMANCE

  Andrii Yeromenko, Nataliya Yeromenko, Marharyta Prymak

  44-48

  • PDF (Українська)

• ЕVOLUTION OF PERCUSSION INSTRUMENTS IN WORLD MUSICAL ART: FROM ARCHAIC FORMS TO MODERNITY

  Andrii Yeromenko, Nataliya Yeromenko

  49-52

  • PDF (Українська)

• THE INFLUENCE OF EUROPEAN VOCAL METHODS ON THE FORMATION OF CONTEMPORARY UKRAINIAN POP VOCAL

  Svitlana Zaria

  53-56

  • PDF (Українська)

• MUSICAL REPRESENTATION OF NATIONAL IDENTITY IN CREATIVE PROJECTS OF MOORE: PERSPECTIVES OF ACCOMPANIED ANALYSIS

  Halina Zub

  57-60

  • PDF (Українська)

• THE PIANIST’S THESAURUS: TRANSFORMATIONAL TRENDS IN THE CONTEXT OF THE POST-MODERN ERA

  Mariya Kalashnyk

  61-65

  • PDF (Українська)

• WORKING ON A VOICE IN THE BANDURA CLASS: METHODICAL GUIDELINES FOR THE TEACHER

  Natalia Koval

  66-69

  • PDF (Українська)

• VOCAL ART IN THE MODERN UKRAINIAN SPACE: ISSUES OF THE TEXT AND ITS DELIVERY TO THE LISTENER

  Viktoriia Komisar, Serhiі Yurchenko

  70-73

  • PDF (Українська)

• «LIAN SHANBO AND ZHU YINTAI» («THE BUTTERFLY LOVERS») VIOLIN CONCERTO BY HE ZHANGHAO AND CHEN GANG IN AUTHOR'S TRANSCRIPTIONS: IMAGERY-SEMANTIC AND GENRE TRANSFORMATIONS

  Qi Li

  74-79

  • PDF (Українська)

• AESTHETIC FOUNDATIONS OF VOCAL PERFORMANCE IN CHINA AT THE END OF THE 20TH – BEGINNING OF THE 21ST CENTURY

  Yongchun Li

  80-84

  • PDF (Українська)

• MYSTICAL LULLABY (BASED ON DIPTYCH B MINOR NO. 6 FROM THE CYCLE "24 PRELUDES AND FUGUES" BY VSEVOLOD ZADERATSKY)

  Natalia Makarova

  85-92

  • PDF (Українська)

• FORMATION AND EVOLUTION OF RUDIMENTAL DRUMMING IN THE UNITED STATES

  Petkun Leonid

  93-99

  • PDF (Українська)

• THE ATOMIC PRINCIPLE OF CREATIVE EDUCATION OF A VARIETY MUSICIAN

  Tetiana Samaya

  100-104

  • PDF (Українська)

• GENRE-STYLISH TRANSFORMATIONS IN THE VOCAL LYRICS OF COMPOSERS OF THE DNIEPER REGION OF THE 1920S–1930S

  Oleksandr Stakhevich, Olena Enska

  105-113

  • PDF (Українська)

• THE COMPOSITIONAL LEGACY OF MANUEL PONCE AND ITS SIGNIFICANCE FOR THE DEVELOPMENT OF THE GUITARIST’S PERFORMANCE MASTERY

  Oleksii Taran

  114-121

  • PDF (Українська)

• THE EUROPEAN ORIGINS OF THE FLUTE IN CHINA: AN ORGANOLOGICAL EXCURSION

  Olena Ustymenko-Kosorich

  122-125

  • PDF (Українська)

• REPERTOIRE TRADITIONS AND CREATIVE EXPERIMENTS OF THE OPERA STUDIO AT THE A. V. NEZHDANOVA ODESA NATIONAL ACADEMY OF MUSIC

  Oleksandr Filippov

  126-130

  • PDF (Українська)

• POP ART AESTHETICS IN LADY GAGA'S CREATIVE WORK

  Nataliia Folomieieva

  131-136

  • PDF (Українська)

• INTERPRETATION OF THE UKRAINIAN SONG IN CONTEMPORARY POP VOCAL PERFORMANCE AS A FACTOR IN THE FORMATION OF THE NATIONAL STYLE

  Hanna Tsap, Myroslava Kovalchuk, Nataliya Yefymenko

  137-140

  • PDF (Українська)

• THE QUESTION OF PERIODIZATION OF THE DEVELOPMENT OF UKRAINIAN CHAMBER AND INSTRUMENTAL MUSIC IN THE 20TH CENTURY IN THE MODERN MUSICIAN DISCUSSION

  Jingge Cui

  141-145

  • PDF (Українська)

• ORATORIO-ACTION “THOUGHTS ABOUT UKRAINE” BY V. MARTYNYUK – AS A FORM OF PRESERVATION OF COLLECTIVE MEMORY IN AESTHETIC AND DRAMATIC MANIFESTATIONS OF ART

  Yuliia Chekhlata

  146-150

  • PDF (Українська)

• TIMBRE SEMANTICS: THEORETICAL APPROACHES AND ANALYTICAL ASPECTS

  Khrystyna Yurko

  151-154

  • PDF (Українська)

• LOUIS KARCHIN'S ROLE IN THE DEVELOPMENT OF MODERN ACADEMIC MUSIC

  Veronika Zinchenko-Hotsuliak, Hanna Yuferova

  155-158

  • PDF (Українська)

• CHAMBER AND INSTRUMENTAL WORKS BY OLENA ILNYTSKA: GENRE AND STYLE ASPECTS

  Olena Yakymchuk

  159-165

  • PDF (Українська)