No. 1 (2026): Sloboda Art Studies

Статті

• TRADITIONS OF BAROQUE GENRES IN MODERN INTERPRETATION BY UKRAINIAN COMPOSERS (USING THE EXAMPLE OF VIOLIN REPERTOIRE)

  Oksana Aleksandrova , Алла Олексіївна Мельник

  7-13

  • PDF (Українська)

• THE INFLUENCE OF THE ITALIAN TRADITION ON THE FORMATION OF FRENCH VIOLIN PEDAGOGY IN THE EIGHTEENTH CENTURY

  Marta Bura

  14-18

  • PDF (Українська)

• THE TUBA AS A VOICE: VOCAL PRINCIPLES IN SOLO AND ORCHESTRAL TUBA REPERTOIRE OF THE 20TH–21ST CENTURIES

  Andrii Vysoven

  19-24

  • PDF (Українська)

• WEDDING СUSTOMS IN DNIPROPETROVSK REGION: THE CURRENT CONDITION

  Olha Husina

  25-28

  • PDF (Українська)

• THE FUNCTIONAL PURPOSE OF STRING INSTRUMENTS IN EUROPEAN BAROQUE MUSIC

  Andrii Yeromenko

  29-32

  • PDF (Українська)

• METHODOLOGICAL PRINCIPLES OF FORMING PROFESSIONAL CULTURE IN ACADEMIC BANDURA PERFORMANCE IN THE CONTEXT OF S. BASHTAN’S CREATIVE LEGACY: THE PHENOMENON OF THE “VERBENA” TRIO

  Zadorozhna Vita-Viktoriia

  33-36

  • PDF (Українська)

• THE CREATIVITY OF JAMALA (SUSANA JAMALADINOVA) AS THE EMBODIMENT OF MULTICULTURAL INTENTIONS IN CONTEMPORARY UKRAINIAN POP MUSIC

  Yuliia Karchova , Tamara Tesler

  37-43

  • PDF (Українська)

• CHOIR “HOMIN” AS AN EXAMPLE OF SUCCESSFUL PROMOTION OF THE MODERN CHORAL COLLECTIVE

  Lіubomyra Lastovetska

  44-47

  • PDF (Українська)

• FEATURES OF CYCLICAL THINKING IN O. MESSIAN'S PIANO CYCLE “TWENTY CONTEMPLATIONS ON THE INFANT JESUS”

  Tetiana Levytska

  48-54

  • PDF (Українська)

• TIME IN THE VOID CIRCLE OF CONCENTRATION CAMP REALITY (ON THE EXAMPLE OF THE ANALYSIS OF “PRELUDE AND FUGUE IN B-FLAT MINOR” NO. 16 BY V.P. ZADERATSKY)

  Natalia Makarova

  55-66

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• THE INTERACTION OF VOCAL AND SPEECH TECHNIQUES IN THE TRAINING OF A MUSICAL AND DRAMATIC THEATER ACTOR: METHODOLOGICAL APPROACHES AND ARTISTIC RESULTS

  Oksana Mykhailiuchenko , Kseniia Bezverkha , Olena Yakhno

  67-71

  • PDF (Українська)

• BALLET CONDUCTING AS A SYNTHESIS OF MUSICAL, CHOREOGRAPHIC, AND DRAMATURGICAL INTERPRETATION: HISTORICAL-STYLISTIC AND CONTEMPORARY ASPECTS

  Diliaver Osmanov

  72-76

  • PDF (Українська)

• INSTRUMENTS IN THE ELECTROACOUSTIC FORMAT OF MUSIC MAKING: ARTISTIC AND TECHNICAL PARAMETERS OF REALIZATION

  Iryna Paliy

  77-83

  • PDF (Українська)

• BANDURA IN THE CHAMBER-ENSEMBLE GENRE: THE PERFORMANCE ASPECT

  Marharyta Prymak

  84-87

  • PDF (Українська)

• THE ROLE OF CREATIVE THINKING IN THE PROFESSIONAL ACTIVITY OF THE LEADER OF AN AMATEUR VOCAL ENSEMBLE

  Yelyzaveta Rohovska

  88-92

  • PDF (Українська)

• VOICE AND ORCHESTRA: THE EVOLUTION OF OPERATIC PERFORMANCE ON THE PATH TO VERISMO

  Oleksandr м

  93-96

  • PDF (Українська)

• STAGE STYLIZATION OF TRIPLET MUSIC IN THE PRACTICE OF THE GREAT ACADEMIC SLOBOZHANSKY SONG AND DANCE ENSEMBLE: ARTISTIC AND METHODOLOGICAL DIMENSIONS

  Oleksandra Savytska

  97-101

  • PDF (Українська)

• INSTRUMENTAL ROLE IN CELLO PERFORMANCE FROM BAROQUE TO CLASSICISM

  Oleksandr Stakhevich , Olena Ustymenko‐Kosorich

  102-107

  • PDF (Українська)

• PIANO SONATA IN THE NATIONAL MUSIC SPACE: VECTORS OF INTERPRETATION OF THE GENRE MODEL

  Olha м

  108-114

  • PDF (Українська)

• THE ENSEMBLE TEXTURE OF VIKTOR KOSENKO’S CLASSICAL TRIО

  Jingge Cui

  115-118

  • PDF (Українська)

• THE PROFESSIONAL COMPETENCE OF A MODERN CHOIR CONDUCTOR IN THE CONTEXT OF THE TRADITIONS OF PERFORMING SPIRITUAL WORKS

  Iryna Tsiuriak

  119-122

  • PDF (Українська)

• PECULIARITIES OF THE CONCERT GENRE FOR TRADITIONAL WIND AND PERCUSSION INSTRUMENTS WITH THE SYMPHONY ORCHESTRA OF THE END OF THE XX – THE EARLY XXI CENTURY

  Qihan Cheng

  123-127

  • PDF (Українська)

• FORMATION AND DEVELOPMENT OF THE CONCERT FORM: FROM MOZART TO LISZT

  Oleksandr Shumakov

  128-131

  • PDF (Українська)

• EVOLUTION OF MUSICAL ACCOMPANIMENT IN THE CONTEXT OF DANCE: HISTORICAL AND THEORETICAL ASPECT

  Yelizaveta Shumakova

  132-135

  • PDF

• Piano duets of Wolfgang Amadeus Mozart: a 21st century view

  Olga Shcherbakova

  136-140

  • PDF (Українська)

• INTERACTION BETWEEN EASTERN AND WESTERN MUSICAL CULTURES THROUGH THE PRISM OF MUSICAL SOUND (ON THE EXAMPLE OF SYMPHONY NO. 6 BY K. PENDERECKI)

  Bing Yao

  141-144

  • PDF (Українська)