No. 46 (2020): Scientific collections of the Lviv National Music Academy named after MV Lysenko

Статті

• UKRAINIAN SIGNIFICANCE OF BORYS LYATOSHYNSKY'S CREATIVITY

  Myroslava Novakovych

  6-18

  • PDF (Українська)

• AT THE BEGINNING OF THE STAR JOURNEY: TOUCHES TO THE PORTRAIT OF CONDUCTOR ARTUR RODZINSKY

  Ferendovych Maryana

  19-31

  • PDF (Українська)

• NATIONAL DIMENSIONS OF IGOR MARKEVITCH’S CREATIVE PERSONALITY

  Petlii Sofiia

  31-41

  • PDF (Українська)

• ARTISTIC AND ARTISTIC ACTIVITY OF BOHDAN DEREVIANKO: FROM THE HISTORY OF HUTSUL FOLK SONG AND DANCE ENSEMBLE CREATION AND CREATIVE DEVELOPMENT

  Kuryliak Iryna

  42-52

  • PDF (Українська)

• SOCIO-CULTURAL CONDITIONALITY OF UKRAINIAN PIANO ART IN THE EMIGRATION OF THE FIRST THIRD OF THE TWENTIES CENTURY

  Chornobay Miroslava

  53-67

  • PDF (Українська)

• URBAN INTENTIONS IN THE EUROPEAN MUSICAL CONTINUUM OF THE XXTH CENTURY AS A WAY OF MIRRORING THE PROCESS OF EVOLVING FORMS OF THE COLLECTIVE COMMUNE

  Natalya Martynova

  67-80

  • PDF (Українська)

• WAYS OF DEVELOPMENT OF THE SONATA GENRE FOR VIOLA SOLO DURING THE FIRST HALF OF THE TWENTIETH CENTURY (PANORAMIC VIEW)

  Gorbachevska Yaryna

  81-105

  • PDF (Українська)

• NEOROMANTISM AND NEOPHOLORCORISM AS LEADING STYLE VECTORS OF THE POSTMODERN PARADIGM

  Lyubava Sydorenko

  105-122

  • PDF (Українська)

• CREATIVITY OF STANISLAV LYUDKEVYCH UNDER THE SIGN OF UKRAINIAN VITAISM

  Liliya Nazar

  123-146

  • PDF (Українська)

• PECULIARITIES OF THE PIANO SOUND RECORDING IN THE MUSIC PIECES OF LVIV COMPOSERS OF THE LATTER HALF OF THE TWENTIETH CENTURY - EARLY TWENTY FIRST CENTURY

  Nataliya Posikira-Pmelchuk

  146-162

  • PDF (Українська)

• СЕМАНТИКА І ТЕХНІКА У КАМЕРНОІНСТРУМЕНТАЛЬНОМУ ПИСЬМІ АНТОНА ВЕБЕРНА: ВІД ТРАДИЦІЇ ДО АЛЬТЕРНАТИВИ

  Oksana Rapita

  162-173

  • PDF (Українська)

• SEMANTICS AND TECHNIQUE IN A. WEBERN CHAMBER INSTRUMENTAL WRITING: FROM TRADITIONS TO ALTERNATIVE

  Anton Poslavsky

  173-183

  • PDF (Українська)

• THE ETHNO CHARACTERISTICS AMBUSH IN THE VIOLIN CONCERT BY MECHYSLAV KARLOVICH

  Nataliya Samostrokova

  183-194

  • PDF (Українська)

• P. TCHAIKOVSKY'S THIRD PIANO CONCERT: THE QUESTION OF "DARKENED" BIOGRAPHY

  Andriy Makarevych

  195-205

  • PDF (Українська)

• FEATURES OF MODERN WIND ENSEMBLE PERFORMANCE: ORGANIZATION AND TRAINING OF PLAYING IN AN ENSEMBLE OF WIND AND PERCUSSION INSTRUMENTS

  Yaroslav Horbal

  206-226

  • PDF (Українська)

• CLARINET AS A PART OF "TROYISTA MUZYKA": IMPLANTATION OF TRADITIONAL ENSEMBLE FORMATION IN THE WORKS OF LEVKO KOLODUB

  Yaroslav Zhovnirovych

  227-242

  • PDF (Українська)

• FORMATION OF THE MALE VOCAL QUARTET GENRE IN EUROPEAN MUSICAL CULTURE: HISTORICAL DISCOURSE

  Roman Antonuyk

  242-269

  • PDF (Українська)

• THE INFLUENCE OF THE GERMAN MUSICAL-THEORETICAL TREATISES ON THE CREATION OF THE UKRAINIAN FIVE-LINE NOTATION

  Nataliya Syrotynska

  270-284

  • PDF (Українська)

• EXAMPLES OF TRAINING WITH FOREIGN SPECIALISTS AT AN EARLY STAGE OF PROFESSIONALIZATION OF CHINESE VIOLIN ART

  Chen Mengwei

  285-296

  • PDF (Українська)

• FUNDAMENTALS OF PROFESSOR’S PIANO PEDAGOGY ZHOU GUANGZHEN

  Feng Yiran

  296-311

  • PDF (Українська)

• WOMEN-COMPOSERS: THE GENDER POLITICS OF THE TIME

  Tetiana Molchanova

  311-332

  • PDF (Українська)

• DIDACTIC CREATIVITY OF OKSANA BIRETSKA IN THE CONTEXT OF HER CULTURAL AND ORGANIZATIONAL ACTIVITIES

  Mariia Gerega

  332-343

  • PDF (Українська)

• CHORAL AFFAIES AS THE SENSE OF IRYNA BERMES’ PEDAGOGICAL AND SCIENTIFIC ACTIVITY (TO THE 65TH ANNIVERSARY OF THE BIRTH)

  Lyubomyr Martyniv

  343-354

  • PDF (Українська)

• THE USING OF ASSOCIATIVE THINKING IN DETERMINING TRIADS AND THEIR HEARING

  Anna Utina

  354-369

  • PDF (Українська)

• GLOBALIZATION DIMENSIONS OF THE DEVELOPMENT OF MUSICAL CULTURE OF THE EAST

  Gao Jin

  370-389

  • PDF (Українська)

• THE PHENOMENON OF THE COMPOSER'S CREATIVE MATURITY: TYPOLOGICAL ASPECTS

  Antonina Chubak, Olha Katrych

  389-397

  • PDF (Українська)