Наукові збірки Львівської національної музичної академії імені М.В. Лисенка

SPECIFICS OF PERFORMING THE BAROQUE TRUMPET REPERTOIRE BY CONTEMPORARY MUSICIANS: HISTORICAL, INTERPRETATIVE AND DIDACTIC ASPECTS (ON THE EXAMPLE OF LEOPOLD MOZART’S CONCERTO IN D MAJOR)

2025-06-12T11:37:22+03:00

The compositional and performing traditions of the trumpet constitute a significant segment of musical culture, deeply rooted in European artistic heritage. As a result, this domain has received substantial scholarly attention in both Ukrainian and global musicology, as well as in pedagogical literature. However, research on this subject has predominantly focused on the achievements of symphonic music from the Classical period onward and the evolution of the trumpet as a solo instrument in this era. Meanwhile, contemporary performance practice presents new repertoire challenges. Due to the increasing number of transcriptions, Baroque compositions are now frequently performed not on clarino trumpets but on modern instruments. This development not only enriches concert programs but also contributes to the multifaceted training of future performers. Therefore, an analysis of the pre-Classical trumpet repertoire remains relevant from both research and a didactic perspective.The study of trumpet performance in the Baroque era remains relatively underexplored in Ukrainian musicology.In contrast, Western European and global musicology have demonstrated a sustained interest in the art of trumpet performance, particularly regarding its first major rise during the Baroque period. This has led to the publication of numerous fundamental studies. The objective of this article is to highlight the significance of the Baroque and early Classical trumpet repertoire in light of contemporary interpretative and didactic challenges. To achieve this goal, the study examines a modern arrangement of Leopold Mozart’s Trumpet Concerto, analyzing both the composition itself and its various interpretations by renowned soloists such as Maurice André, Wynton Marsalis, and Håkan Hardenberger.Additionally, the article presents the author’s own performance and pedagogical analysis.

EXPLORING ANCIENT MUSIC RECONSTRUCTION USING ARTIFICIAL INTELLIGENCE

2025-06-12T11:40:30+03:00

The article explores existing developments in the field of reconstructing ancient music using artificial intelligence, providing an overview of the theoretical and practical aspects of the advancement of this technology. It analyzes the tools used for digital processing and the reproduction of the sound of lost musical instruments. Particular attention is given to the historical context of the evolution of artificial intelligence and neural networks, starting from the creation of fundamental concepts and mathematical models developed by medieval scholars to modern deep learning algorithms.The study also examines the evolution of computational hardware, from the earliest computing devices that emerged before our era to modern supercomputers and grid networks that enable the analysis of complex acoustic data. Special focus is placed on the use of artificial intelligence in the music industry in general and, more specifically, for reconstructing the sound of lost musical instruments from ancient civilizations, such as the epigonion, lyre, aulos, and others.Attention is also given to the interdisciplinary approach, which involves collaboration among musicologists, cultural scholars, archaeologists, physicists, sound engineers, mathematicians, software engineers, and others. The implementation of such projects requires significant computational resources, funding, and access to archival and archaeological materials. At the same time, this reconstruction has not only scientific and technological value but also significant cultural and educational importance, as it allows for the recreation of sounds lost through the ages, contributes to a deeper understanding of past musical cultures, and opens new horizons for musicology and the digital industry as a whole.

INTERPRETATION OF THE WORKS OF ROMANTIC COMPOSERS: THE PROBLEM OF PEDALIZATION

2025-06-12T11:43:00+03:00

The article is devoted to the issue of interpretation of musical works of the Romantic era and the problem of pedalization in revealing the artistic image through understanding the textural context. It is noted that the issue of pedalization is always relevant, since it performs an artistic function in the performance and interpretation process of a musician-pianist. The purpose of the article is to determine the role and peculiarity of pedalization in the embodiment of the artistic image in the process of interpreting the works of romantic composers. The purpose is realized by applying the methods of theoretical research: analysis, synthesis, systematization. The works of Ukrainian and foreign scientists on the understanding of the concept of “interpretation” are analyzed and the definition of the concept of “musical and performing interpretation” is given as the understanding of the author’s musical text and its interpretation through its cultural and spiritual understanding, which has the imprint of a subjective and objective attitude to the artistic image.The properties of the right and left pedals and their functions in reproducing the artistic and stylistic context of musical works are characterized. The role of pedalization and its connection with texture (transparent or saturated) in the works of classical, romantic, and impressionist composers is clarified. The peculiarity of the interpretation of pedalization, its designation in the piano works of F. Chopin, and the correspondence of artistic images, plot and portrait sketches of program music to the use of pedalization in the works of R. Schumann and F. Liszt are specified. It is proved that the pedal, as a unique property of the piano, is an artistic attribute of the pianist, and its acoustic function is an integral part of the performance process in comprehending the composer’s artistic intention. It is emphasized that for a pianist it is important to feel and understand the essence of romantic music, its harmonic and melodic construct, the diversity of the musical palette, the completeness of dynamic gradations, and to skillfully apply pedalization in revealing the found artistic image: to coordinate different gradations of pressing the pedal with a sensory response to changes in the strength of the sound under constant auditory control. In practice, pedalization requires careful thought in the process of working on the interpretation of a musical work; there should be nothing accidental or illogical in it, as in the entire process of performance; it is determined by the tasks of the figurative and artistic content of the work.

THE GENRE OF TUBA CONCERT IN MODERN REALITIES

2025-06-12T11:48:19+03:00

The article traces the evolutionary development of the tuba concerto genre in the conditions of modern performance.It is noted that all qualitative achievements in the concerto genre for this instrument are dictated by the relevant musical criteria and traditions of each era. An important aspect is the inextricable connection with the level of performing art at all stages of the historical development of the concert genre.The 20th century is characterized by the search for new ideas for the concert within the framework of various national composer schools, active stylistic searches for modern musical art and the formation of the concert genre for the tuba in general.Responding to the aesthetic requirements of the time, it continuously evolves, thereby more convincingly consolidating its place in the general concept of musical performance.Over the past half-century, the tuba concerto has undergone a significant transformation, and in recent decades it has undergone the most rapid progression and diverse renewal.In the repertoire of modern performers, works of this genre occupy a special place. Their performance is associated with fundamentally new stage-psychological sensations and certain technical skills. Modern composers demonstrate a multifaceted artistic and figurative palette and a considerable reserve of expressive possibilities in compositions for tuba, which are included in various concert programs, competitive performances, and the list of pedagogical repertoires in music educational institutions.At the current stage, one can observe new compositions in the genre of tuba concerto, in particular, tuba concertos by John Williams, Wynton Marsalis, Roland Saintpauli, and Barbara York, the concerto “Amaia” for tuba and piano by Ricardo Moglia, the concerto for tuba and string ensemble by Ariel Plau, and the Spanish concerto for tuba by Kurt Goble.The process of genre modification at the current stage of its development has been analyzed and identified, which in turn allows for the further growth of the role and scaling of the concert genre for the tuba in musical culture.

“PLYVE KACHA” AS A REPRESENTATION OF NATIONAL IDENTITY IN UKRAINIAN MUSICAL ART

2025-06-12T11:51:21+03:00

The Ukrainian Transcarpathian song “Plyve Kacha” is an outstanding example of musical folklore, which in the modern history of Ukraine has acquired special significance as a symbol of national memory, grief, and identity. Its transformation from a traditional Transcarpathian composition to a powerful marker of collective experience, especially after the events of the Revolution of Dignity and the military conflict in Eastern Ukraine, and the full-scale invasion requires a comprehensive musicological and cultural analysis. The study of this work in the context of the modern musical space, its performing interpretations, and social significance contributes to the disclosure of the mechanisms of national identity formation through music. The aim is to investigate “Plyve Kacha” as a musical, poetic and socio- cultural phenomenon, to determine its role in the formation national identity. The study uses a comprehensive approach, which includes a historical and cultural analysis of the origin of the song, a musicological analysis of its melodic and rhythmic features, and a semiotic analysis of the poetic text. Special attention is paid to the socio-cultural analysis of the meaning of the song in social discourse. The analysis made it possible to establish that “Plyve kacha” is a carrier of a deep cultural code, embodying the characteristic features of the Ukrainian folk worldview, where the theme of death and farewell appears not only as a personal, but also as a collective experience. The song has a minor key, smooth melody and meditative rhythm, which enhances its emotional impact. Performance interpretations from academic choral sounding to experimental arrangements testify to its versatility and ability to adapt to various artistic contexts. Analysis of the contemporary use of the work in public consciousness confirmed its important role in the processes of formation national identity, especially in conditions of crisis historical events. Further research may focus on the cross-cultural comparison of “Plyve Kacha” with other folk requiems, analysis of its impact on social psychology and research of new performance interpretations in various genres of contemporary art. Also relevant is the study of musical creativity as a means of national consolidation in the context of globalization and changes in the cultural policy of Ukraine.

WORKS BY F. CHOPIN IN THE REPERTOIRE OF CONTEMPORARY JAPANESE PIANISTS

2025-06-12T11:55:41+03:00

The phenomenon of the emergence of interest in the works of F. Chopin in Japan is analyzed through the prism of the introduction in this country of the tradition of piano performance, which was initiated in the Meiji era (1868–1912). The socio-political, economic and cultural factors that contributed to the penetration and popularization of the piano in Japan are analyzed. The leading Japanese corporations manufacturing keyboard musical instruments (pianos, grand pianos, modern digital models) are presented. A list of the earliest foreign piano teachers and their performances in concerts with works by Chopin in the late 19th and early 20th centuries are provided, in which Japanese pianists began to be increasingly involved. The chronology of the participation and achievements of Japanese pianists at the International Chopin Piano Competition in Warsaw is considered. The given concrete examples emphasize the great interest of Japanese musicians in the work of the Polish composer. The latest international Chopin piano competitions are presented – the Asian one, held in Tokyo, and the Chopin Music Performance Competition on Antique Instruments, in which Japanese pianists take the most active part. A quantitative and qualitative analysis of the participation of Japanese musicians in such creative competitions in comparison with representatives of other countries in the East Asian region is carried out. The names of some modern bright Japanese pianist-teachers from higher musical institutions of a number of Japanese cities are given – propagandists of Chopin’s work, who combine performing and pedagogical activities. Conclusions are drawn regarding the leading role of Japanese musicians in encouraging the broad masses of the population of many countries in the East Asian region to listen to the musical masterpieces of the Polish piano genius. Prospects for further research are outlined, which consist in a detailed study of the specifics of interpretations of Chopin’s compositions by Japanese pianists on antique instruments and the identification of specific national features in the interpretation of Chopin’s works.

EUROPEAN INTEGRATION PROCESSES IN THE DEVELOPMENT TRENDS OF MODERN MUSICAL PERFORMANCE OF UKRAINE

2025-06-12T11:58:35+03:00

The article examines current trends in the development of instrumental music performance in Ukraine in the vector of European integration processes. The article highlights the characteristic features of the transformation of performance strategies, repertoire policy, stylistic guidelines, as well as the mechanisms of entry of Ukrainian musicians into the European cultural space. The role of international cooperation, the festival movement, academic mobility and the influence of the Western European performing school are analysed. The central attention is paid to the duality of the process of development of the performing arts – the problems of identity and European integration. The activity of instrumental performers of classical and academic education in modified functions of art is considered. The mechanisms of innovative informative opportunities for studying the European scientific and creative heritage are described. The key aspects of priority areas of repertoire selection in the field of European practice trends are revealed. Changes in the educational programmes of performing arts faculties towards European systems are outlined. The article emphasises the preservation of the value factors of the performing qualities of Ukrainian artists and describes the peculiarities of modern conditions for their creative work. The study develops the concept of the newest forms of performance in online and offline formats, emphasises the practical significance of using advanced performance techniques and their classification for the universalisation of performance techniques in the modernisation of the stage image. The modelling of professional competences of the effective activity of a modern Ukrainian artist is presented. The content of the concept of performing reflection as a reaction to new cultural and European integration processes is investigated. The specificity of the performer's action and qualities on stage as a key aspect of the act of interpretation is highlighted. The cross-cultural communications and mutual exchange of performing experience on the way of the European integration process are traced.

THE ARCHETYPE OF ODARKA FROM THE OPERA “KUPALO” BY A. VAKHNIANYN AS A REFLECTION OF THE MENTAL TRAITS OF UKRAINIANNESS

2025-06-12T12:01:54+03:00

The article explores the issue of defining the archetype of the main character of A. Vakhnianin’s opera “Kupalo” Odarka from the point of view of the reflection of the mental features of Ukrainianness in it. A special place in the article is given to the analysis of the dramatic line of the opera character, emphasizing the obvious close connection of her personal essence with the traits of the Ukrainian national character. The research methodology is based on historical, analytical, descriptive, music-textological, source-based, and retrospective methods. Which provide an opportunity to explore the traits of the Ukrainian character in the image of the main heroine, reaching the depths of Ukrainian history.The scientific novelty of the research lies in the fact that it is the first time that the female image of Ukrainian opera is explored through the prism of such categories as: the mentality of the Ukrainian nation, the archetype and the specifics of its historical formation on the territory of Ukraine. The aim of the work is to determine the archetype of the main character of A. Vakhnianyn’s opera “Kupalo” Odarka, which becomes possible due to the projection of mental traits of Ukrainianness onto this character. The composer created the character of Odarka, endowing it with a bright national identity, which made it possible to analyze this archetype of the female image of Ukrainian opera from the point of view of reflecting the mental traits of Ukrainianness in it. Like Ukrainians, the main heroine is also characterized by antheism – an unbreakable bond with her native land. The contradiction in the essence of the main character lies in the fact that despite the fact that her father is Omar Pasha, the basis of Odarka’s archetype is her Ukrainian part. The character of Odarka embodies lyricism – one of the main features of the Ukrainian national character; the features of the Amazons – a close connection with their native land and individualism. The image of the main character corresponds to the sacrificial archetype, since this trait of Odarka is key when she makes an important decision.

VOLODYMYR RUNCHAKʼS BAYAN CREATIVITY IN LIGHT OF ARTISTIC IDEOLOGICAL AND GENRE STYLE INNOVATIONS OF UKRAINIAN MUSIC CULTURE

2025-06-12T12:04:52+03:00

The article highlights creative person Volodymyr Runchak as one of the greatest a reinventor modern bayan creativity.Ukrainian bayan art is a relatively recent phenomenon in the history of national musical culture. An active stage of development occurs in the second half of the ХХ century. It is associated with qualitative renewal of music-lexical fund, innovative treatment of musical forms, extension of thematic means. Volodymyr Runchakʼs creativity covers a period the last third of the ХХ the beginning of the XXI centuries. It reflects the modern nature of music broadcasting language and corresponds to modern musical canons.The key genre, stylе, ideological and thematic directions of creativity are analyzed in light of recent trends of Ukrainian music culture. It was found that the Volodymyr Runchakʼs author’s handwriting highlights the key stylistic avenues and compositional techniques of its time, forms an experimental field of work with the sound material. The imaginative platform of creative outlook reveals the problems of spiritual life his contemporary. It was revealed that artistic and aesthetic features of composer’s creative mind fit organically into the in the postmodernist plane. Volodymyr Runchakʼs new bayan instrumental language determined the innovative character of performing arts. It is focused on empowering of intellectualism and psychologism, finding new approaches to system of expressive means and understanding the expressive potential of the instrument. Most of the works were written as deployed philosophical concepts. This requires the high art erudition and intellectual reflection from the modern viewer and performer.

PIANO MINIATURES BY N. NYZHANKIVSKYI IN THE INTERPRETATIONS OF M. KRUSHELNYTSKA AND O. KOZARENKO

2025-06-12T12:07:41+03:00

To fully experience the composer’s skill and talent and to form one’s own interpretative plan, high-quality audio recordings of performances are necessary, which should be taken as a guideline as optimal. We consider these to be the interpretations of outstanding performers who have gained national and European recognition. Let us first mention the very first, lifetime recordings of N. Nyzhankivskyi’s works on vinyl discs by Lyubka Kolessa and Daria Gordynska- Karanowych. Of the subsequent significant recorded performances, the figures of Maria Krushelnytska and Oleksandr Kozarenko are relevant in recognizing interpretive achievements. Given the differences in the principles of piano performance, the difference in generations, socio-cultural conditions and creative psychotypes of these outstanding pianists, the correlation of their interpretations of the works of N. Nyzhankivskyi becomes a cognitive and valuable task for the pianist-performer. Both selected figures are universal musicians: performers, researchers, teachers, for whom the high-quality interpretation and popularization of Ukrainian music is the leading task. In search of the interpretative optimum, both performers deeply studied the sources of creativity and stylistic guidelines of the composer, the life circumstances under which the work arose, the addressees of his dedications, personal manifestations of the composer’s style, structure, dramaturgy, musical language of each of the works. The joint works that have been preserved in the sound recording are “Waltz” and “Memory”.Studies of interpretations of outstanding performers reveal the possibilities of building different, but artistically convincing strategies in the interpretation of the author’s text. The pianists’ detailed preparatory work on the general and author’s stylistics, the study of style and author’s intention, dramaturgy, facets of form, a complex of expressive means (primarily texture, dynamics, agogics, strokes) is obvious. At the same time, being experienced performers and charismatic personalities, each of them builds their own unique interpretation of the work, without violating the author’s will. Such comparative analyses are important for the basis for the formation of their own interpretative concepts.