No. 51 (2024): Scientific collections of the Lviv National Music Academy named after MV Lysenko

Статті

• V. KAMINSKY'S CONCERT FOR PIANO AND ORCHESTRA IN MEMORY OF VASILY BARVINSKY: A LINK BETWEEN PAST AND PRESENT

  Bohdan Dashak

  3-9

  • PDF (Українська)

• PERFORMING PRINCIPLES OF VICTOR KAMINSKY'S CHAMBER-INSTRUMENTAL STYLE (ON THE EXAMPLE OF THE FIRST QUARTET)

  Yurii Zavadovskyi

  10-17

  • PDF (Українська)

• NEO-IMPRESSIONIST CHARACTERISTICS OF THE INSTRUMENTAL CYCLE FOR BANDURA SOLO "THE SECOND NOTEBOOK OF TRAVELERS" BY LYUDMILA FEDOROVA-KOHANSKA

  Vita-Viktoria Zadorozhna

  18-22

  • PDF (Українська)

• UKRAINIAN CHAMBER-BAYAN ENSEMBLE IN THE MIRROR OF THE HISTORY AND THEORY OF BAYAN PERFORMANCE

  Dmytrо Kuzhelev

  23-29

  • PDF (Українська)

• MUSIC FESTIVALS AS A TOOL OF TERRITORIAL MARKETING IN MODERN ITALY

  Olena Ponomarenko

  30-35

  • PDF (Українська)

• SEMANTICS OF THE INTONATION DEVELOPMENT OF THE MUSICAL DRAMATURGY OF THE IMAGE (ON THE EXAMPLE OF THE IMAGE OF MIMI IN G. PUCCINI'S OPERA “BOHEME”)

  Daria Serdiuk

  36-42

  • PDF (Українська)

• VIOLA D'AMORE IN PAUL HINDEMITH'S LIFE AND COMPOSITIONAL PRACTICE: THE DISCOVERING OF THE INSTRUMENT IN A MODERNIST AESTHETIC (ON EXAMPLES OF KAMMERMUSIK ОР. 46, № 1 AND KLEIN SONATA OP. 25, № 2)

  Daria Tkachenko

  43-50

  • PDF (Українська)

• GENDER SPECIFICITY OF ARTISTIC CREATIVE WORK OF ANCIENT CHINA

  Chang Yuan

  51-55

  • PDF (Українська)

• THE ROLE OF IVAN NEBESNYI’S MUSIC IN THE PLAY «ON SUNDAY EARLY MORNING SHE WAS DIGGING POTION HERBS»

  Olena Yakymchuk

  56-61

  • PDF (Українська)