No. 42-43 (2018): Scientific collections of the Lviv National Music Academy named after MV Lysenko

Статті

• BYZANTINE CHURCH SINGING IN THE STUDIES OF FR. PETER FRANZ KRYPIAKEVYCH

  Natalia Ihorivna Syrotynska

  5-12

  • PDF (Українська)

• MAXIM BEREZOVSKY C-DUR SYMPHONY IN A CONTEXT OF NEW BIOGRAPHICAL SCENARIO OF ARTIST’S LIFE-CREATIVITY

  Olha Anatoliivna Shumilina

  13-25

  • PDF (Українська)

• THE STICHERAS OF THE HOLIDAY OF PENTECOST IN MUSICAL AND POETIC CONTEXT (ON THE MATERIALS OF LIUBACHIV IRMOLOGION, 1674)

  Iryna Bohdanivna Kaznokh

  26-37

  • PDF (Українська)

• REFLECTION OF THE PROBLEMS OF UKRAINIAN CHURCH SINGING IN THE SOURCE MATERIALS OF GALICIA AT THE END OF THE XIX – EARLY XX CENTURY

  Svitlana Stepanivna Guralna

  37-46

  • PDF (Українська)

• PHILOSOPHICAL AND CULTURAL CONTEXT OF THE ARS SUBTILIOR STYLE

  Mykola Khshanovskyi

  47-56

  • PDF (Українська)

• THE COVERAGE OF THE SPANISH COMPOSERS’ PIANO CREATIVITY AT THE END OF XIX - EARLY XX CENTURIES IN MUSICOLOGY

  Taisiia Ivanivna Dynyak

  57-66

  • PDF (Українська)

• MODERN UKRAINIAN-CHINESE MUSICOLOGY IN THE FIELD OF INTERCULTURAL DIALOGUE

  Dan Jiakun

  67-78

  • PDF (Українська)

• BRONZE IDIOPHONES OF SOUTH CHINA

  Chen Nanpu

  79-89

  • PDF (Українська)

• ABOUT THE LOGOS NATURE OF MUSICAL PERFORMING (AN ATTEMPT OF PHILOSOPHICAL AND CULTUROLOGICAL COMPREHENSION)

  Olha Katrych

  90-100

  • PDF (Українська)

• TOPOS OF VIENNA AS A PLACE OF DEPLOYMENT OF MEANINGS IN THE MUSICAL CULTURE OF THE HABSBURG GALICIA

  Myroslava Novakovych

  100-112

  • PDF (Українська)

• CHАMBЕR-INSTRUMENTAL STYLE BY A. BERG: PROGRAMMABILITY OF "HIDDEN OPERA", CHAMBERINNESS AND CONCERTITY SYNTHESIS

  Anton Aleksandrovych Poslavsky

  112-124

  • PDF (Українська)

• SIXTH SYMPHONY OF AVET TERTERIAN AS A METAPHOR FOR THE UNIVERSAL REQUIEM

  Mariam Serhiivna Verdiian

  124-136

  • PDF (Українська)

• GENRE SPECIFICITY OF YURIY LANYUK`S CHAMBER VOCAL-INSTRUMENTAL CYCLE "SONGS AFTER THE PEOPLE"

  Lyubava Viktorivna Sydorenko

  137-148

  • PDF (Українська)

• THE PROGRAM PIANO CYCLE O. GERASYMENKO "THE LIGHT OF AWAKENED DREAMS" FROM THE STANDPOINT OF MASTERING POLYSTYLISTIC SYNTHESIS AND SOUND TERRAIN

  Mariia Mykhailivna Gerega

  148-158

  • PDF (Українська)

• SOUND-IMAGING AND COLORING IN PIANO MINIATURES BY MYKOLA KOLESSA

  Nataliia Posikira-Omelchuk

  158-169

  • PDF (Українська)

• THE INSTRUMENTATION AS A FACTOR OF THE ARTISTIC INTERPRETATION IN THE ART OF COMPOSITION

  Ruslan Hennadiiovych Kashyrtsev

  169-185

  • PDF (Українська)

• TRANSLATION OF THE ORCHESTRAL COMPOSITIONS FOR ACCORDION BY THE EXAMPLE OF “UKRAINIAN FANTASY” BY YAROSLAV OLEKSIV

  Galyna Vasylivna Oleksiv

  185-199

  • PDF (Українська)

• A MUSIC WORK PORTRAYING COMMON UPS AND DOWNS IN CENTRAL EUROPE - BASED ON MUSIC PERCEIVED BY THE YOUNG IN POLAND, GERMANY AND UKRAINE

  Jaroslaw Chaciński

  199-214

  • PDF (Українська)

• EXPERIMENT ROLE IN THE WORLD MUSIC (BASED ON THE «THE ROAD» ALBUM OF THE UKRAINIAN «DAKHA BRAKHA» BAND)

  Iia Fedorivna Fedorova

  215-227

  • PDF (Українська)

• WEDDING VOCAL AND RITUAL CULTURE OF CENTRAL VOLYN: ETNOGRAPHY AND MELOTYPOLOGY

  Olena Ivanivna Serko

  227-249

  • PDF (Українська)