Українська музика

MODERNIST VISION OF THE FUTURE IN THE LVIV EXHIBITION "GOLDEN HOOP" BY BORYS LIATOSHYNSKY

2025-07-17T11:38:48+03:00

MODERNIST VISION OF THE FUTURE IN THE LVIV EXHIBITION "GOLDEN HOOP" BY BORYS LIATOSHYNSKY

LET'S BREAK THIS ROCK! REFLECTION ON THE INTRODUCTION OF THE TERM "GRASSY-ROOTS"

2025-07-17T11:40:38+03:00

LET'S BREAK THIS ROCK! REFLECTION ON THE INTRODUCTION OF THE TERM "GRASSY-ROOTS"

EPISTOLARY CONTACTS OF THE LEVYTSKY FAMILY WITH STANISLAW LYUDKEVICH

2025-07-17T11:33:32+03:00

EPISTOLARY CONTACTS OF THE LEVYTSKY FAMILY WITH STANISLAW LYUDKEVICH

LVIV VOCAL SCHOOL NAMED AFTER: PROFESSOR VALERY VYSOTSKY (DEDICATED TO THE 190TH ANNIVERSARY OF HIS BIRTH)

2025-07-17T11:35:54+03:00

LVIV VOCAL SCHOOL NAMED AFTER: PROFESSOR VALERY VYSOTSKY (DEDICATED TO THE 190TH ANNIVERSARY OF HIS BIRTH)

STYLISTIC AND PERFORMING ASPECTS OF CHORAL AND SOLO COMPOSER PROCESSING OF UKRAINIAN FOLK SONGS (ON THE SELECTED EXAMPLES)

2025-07-17T10:42:21+03:00

The article explores the process of transformation of Ukrainian folk songs in solo academic and choral performing practice. The Ukrainian folk song, as a manifestation of the collective artistic consciousness of the people, has become a significant source of development of academic vocal art. The adaptation of folk song creativity to academic forms was made by artistic processing, stylization and professional interpretation, which required the preservation of the intonational nature of the original along with adaptation to the requirements of academic singing technique.The work considers the main directions of stylistic transformation of folk songs: authentic reproduction, processing for solo executing with isorudal accompaniment, creation of treatments for choral performance. Particular attention is paid to the analysis of the intonation-rhythmic specificity of folk tunes, the features of their harmonization and textured processing in the academic context. The performance requirements facing soloists and choral teams in the interpretation of Ukrainian folk songs are investigated: reproduction of natural intonation, authentic articulation, folk timbre colors to preserve academic purity of sound, diction and phrase.The contribution of prominent Ukrainian composers and folklorists (Mykola Lysenko, Kirill Stetsenko, Mykola Leontovich, Alexander Koshits) is considered to form the repertoire of folk songs for academic solo and choral performance. Different interpretative approaches to the performance of folk songs - from traditional stylization to modernized versions of modern composers are analyzed.As a result, the main trends of transformation of folk songs in contemporary Ukrainian solo and choral academic art are outlined, including the integration of the national intonational basis into new compositional and gender- performance strategies. The conclusion was made about the importance of folk heritage as a source of national identity, stylistic self -determination and development of academic vocal art in Ukraine.

THE ROLE OF WORSHIP AND PRAISE SONGS IN CONTEMPORARY EVANGELICAL CHURCHES OF UKRAINE

2025-07-17T11:00:21+03:00

This study explores the phenomenon of worship music in the contemporary evangelical environment of Ukraine as an integrative expression situated at the intersection of spiritual practice, social communication, and cultural creativity. Music functions both as an artistic medium of faith expression and a sacramental mediator that enables a transition from the horizontal dimension of community to the vertical experience of encounter with the transcendent. This phenomenon is especially relevant in the Pentecostal-charismatic context, where music emerges as the primary “space” of theophany – a direct experience of God's presence made manifest through the Holy Spirit. Such worship assumes a deeply embodied, emotional, and existential engagement in which music serves as a vehicle of confessional identity, ritual interaction, and spiritual transformation. The study also considers the sociocultural role of music as a means of community consolidation, therapeutic support in wartime conditions, and a platform for interchurch and intercultural dialogue. The impact of worship music on the shaping of contemporary formats of spiritual life and its responsiveness to current societal demands is highlighted. The capacity of this music to synchronize the spiritual and the social is emphasized, offering pathways to both personal and communal transformation through communion with the divine. Special attention is given to the connection between music and contemporary narratives: worship songs increasingly reflect current events, national experiences, and the search for peace, hope, and healing. As such, worship music becomes not only a spiritual practice but also a means of articulating shared historical experience, serving as a channel for existential expression that unites theological depth with sensitivity to social realities.

THE GENRE OF THE PIANO BALLADE IN THE WORKS OF CHINESE COMPOSERS AT THE END OF THE 20TH AND THE BEGINNING OF THE 21ST CENTURIES

2025-07-17T11:03:13+03:00

The article explores the genre specificity of the piano ballad in the work of Chinese composers at the turn of the 20th and 21st centuries. The ballad as a piano genre was formed in the European romantic tradition, in the work of Frédéric Chopin, and is distinguished by lyrical-dramatic imagery and free form. In the second half of the 20th century, Chinese composers began to turn to this genre, combining the European model with the national musical heritage. The aim of the article is to determine the genre specificity of the piano ballad in the work of Chinese composers of the late 20th and early 21st centuries. Three landmark works are analyzed: “Ballad” op. 25 by Ye Xiaogang (1987), “Three Mountain Ballads of Southern Yunnan” by Zhang Zhao (1992), and “Ballad for Piano” by Zhu Chang-lei (2000). These works exemplify three distinct approaches to the ballade: Ye Xiaogang synthesizes Chinese melodic idioms with the romantic ballad form; Zhang Zhao relies on modal folklore elements and programmatic content; and Zhu Chang-Lei employs an innovative variational structure rich in polyphony.It was found that Chinese piano ballads retained the key features of the European genre (narrative, dramatic development, virtuosity, flexibility of musical form), and the integration of folk song intonations, national modes and programmatic images gave them a unique ethno-cultural flavor.Each composer offers a distinct take on the ballade: Ye Xiaogang fuses Chinese melodic idioms with the Romantic form; Zhang Zhao draws on ethnic imagery; and Zhu Chang-Lei adopts an rational-polyphonic approach. The evolution of the genre in Chinese musical culture is traced: from experimental attempts in the 1980s to the establishment of national features of the ballad at the beginning of the 21st century. Modern Chinese authors have enriched the ballad genre with new themes, images and compositional techniques.

HISTORICALLY INFORMED VOCAL PERFORMANCE IN THE MIRROR OF MODERN MUSICOLOGICAL RESEARCH

2025-07-17T11:05:52+03:00

This article offers a concise overview of scholarly literature on the issue of Historically Informed Performance (HIP) in the sphere of vocal music. Special emphasis is placed on contributions by Ukrainian researchers (M. Marchenko, Ye. Lazarevych, L. Artyukhova, O. Tabulina, D. Savon, A. Kolyada). M. Marchenko, in particular, examined the features of performance strategies and interpretive models of national part-song heritage. Ye. Lazarevych analyzed Ukrainian liturgical music from the perspective of HIP, drawing on performances by the “Byzantine Choir” conducted by M. Antonovych. L. Artyukhova proposed several approaches to interpreting Baroque music by contemporary vocalists – academic, authentic, and synthesized. The specificities of Western European Renaissance choral music performance in Ukraine were explored in the work of N. Danshyna. O. Tabulina addressed the appropriateness of vibrato as a component of vocal technique in Baroque compositions. D. Savon investigated the vocal style of German Baroque choral music through both scholarly and performance-based lenses. A. Kolyada emphasized the significant sociocultural role of the independent platform “Open Opera Ukraine”, which actively promotes HIP in Ukraine. For the first time, the article also considers two foreign studies (R. Wistrich, J. Potter, and K. A. Henshaw). R. Wistrich and J. Potter argue against narrowly defined vocal specializations, advocating instead for a close integration of training and scholarship, as well as for vocal versatility in historically grounded performance practice. K. A. Henshaw explored the relationship between semiotic gestures in vocal performance and specific musical- rhetorical figures characteristic of the Baroque era. Drawing from this diverse body of work, the article identifies several key perspectives on early vocal music performance: historical-stylistic (L. Artyukhova, N. Danshyna), genre-specific (M. Marchenko, D. Savon), organizational-aesthetic (R. Wistrich and J. Potter, A. Kolyada, Ye. Lazarevych), and integrative-semiotic (K. A. Henshaw).

TEACHING METHODS FOR DOUBLE BASS PLAYING FOR YOUNG CHILDREN IN UKRAINE: APPROACHES AND CHALLENGES

2025-07-17T11:08:29+03:00

The article is dedicated to the issues of teaching double bass to younger children in Ukraine. It analyzes the current state of methodological support for the initial stage of learning, outlining key problems associated with the physical and technical characteristics of the instrument, as well as the lack of appropriate educational programs and the shortage of small-sized double basses. The article provides an overview of the origins of Ukrainian double bass art and the methodology of teaching double bass playing. The author conducts a historical review of the development of double bass performance in Europe and presents a comparative analysis of methodological principles and pedagogical approaches of the classical double bass schools that emerged in the mid-19th century, established by renowned soloists and double bassists. It also examines the methodological contributions of outstanding 20th-century musicians, including the Japanese violinist, pedagogue, and author Shinichi Suzuki, whose teaching principles have been adapted for various musical instruments, and the world-renowned Austrian double bassist, soloist, orchestral musician, and educator Ludwig Streicher, author of the instructional work Mein Musizieren auf dem Kontrabass and numerous collections of etudes for the double bass. The article explores the potential for synthesizing their methodological principles with the existing Ukrainian pedagogical framework and adapting their approaches to the conditions of modern Ukrainian music education. To create an effective methodology for early double bass instruction in Ukraine, the author substantiates the necessity of combining the auditory-based "mother-tongue method" developed by Shinichi Suzuki for teaching very young children with the technical principles of Ludwig Streicher’s method, which is based on the traditions of the classical Czech double bass school but was significantly modernized by him. The article highlights the prospects for the development of double bass art in Ukraine through the early training of young performers.

SELECTED SONGS FROM GAETANO DONEZETTI'S CYCLE “SUMMER NIGHTS IN PAUSILIPPE” (“NUIT D'ÉTÉ À PAUSILIPPE”) (AN ATTEMPT AT A MUSIC-THEORETICAL ANALYSIS)

2025-07-17T11:11:17+03:00

The relevance of the article is due to the need to study the chamber-song heritage of Italian composers of the first half of the 19th century to enrich the concert repertoire. Therefore, we turn to the song heritage of Gaetano Donizetti (1797–1848) in the light of the author's own interpretative interpretations, since at the present stage of creative contacts between the East and the West, the knowledge and study of European cultural traditions seems to be a necessary area for expanding artistic horizons. The focus is on the music-theoretical analysis of three songs from the cycle “Summer Nights at Pausilippe” (“Nuit d'été à Pausilippe”): “Il crociato” (“Romanza”) – “The Crusader” (“Romance”), text by Guaito; “A mezzanotte” (“Arietta”) – “Midnight” (“Arietta”); “Le crepuscule” (“Romanza”) – “Twilight” (“Romance”), text by V. Hugo, which are an example of the composer's bright creative talent in this genre, which, of course, arouses the interest of performers of his song heritage and researchers of the artist's activities in the field of compositional achievements. The research methodology is dictated by the nature of the problem under study and consists in using a combination of methods – theoretical, textological, descriptive- analytical and traditionally musicological, which make it possible to identify the specifics of the composer's song genre. In the chamber works of G. Donizetti, based on a detailed music- theoretical analysis, we reveal the features of the composer's bright melodic gift, his deeply poetic talent and sense of theatricality. In each of the analyzed songs, there are expressive signs of genre differentiation, as well as the obvious influence of the artist's opera aesthetics, bel canto stylistics and methods of form formation. The problem is studied for the first time from the position of music- theoretical analysis of the declared works. The performance aspect is expressed taking into account the peculiarities of the quality of the voice and its training, since most of the songs of the cycle are quite complex both technically and in terms of performance. The prospects for further scientific research lie in continuing the study of the rich song heritage of the outstanding Italian composer G. Donizetti through the prism of music-theoretical analysis and the performance process.

APPROACHES TO METHODOLOGICAL PERSPECTIVES OF THE APPLICATION OF THE CONCEPTUAL CONCEPT OF "CHURCH MUSIC" IN THE CONTEXTUAL SECTION OF ENCYCLOPEDIC PUBLICATIONS

2025-07-17T11:14:06+03:00

The accurate application of similar or close concepts at the intersection of the content planes of academic, postacademic, and liturgical musicology is an important problem for the development of the modern methodological apparatus, as well as for the improvement of the level of scientific works. First of all, it concerns such fundamental concepts as “church music” and “church singing”. As the analysis of the selected material has shown, the definitions of their content to date cover a variety of historical-cultural, cognitive, aesthetic, artistic and socio-cultural and other aspects. To a large extent, such definitions rely on the liturgical traditions of a particular nation.At the same time, given the differences in such traditions, the meaning of these concepts has not yet been established; they are applied as “accepted” terms to completely different phenomena of church-singing tradition, composer or amateur creativity of different historical eras and styles.In particular, despite the dominance of the system of canonical genres (first of all – in ancient formations with a completely “vertical” meditativity or extreme concentration of attention as a sacred way to achieve objectives), the terms “church music” and “church singing” apply unconditionally to some genres of paraliturgical music, first of all – the choral concerts, as well as samples of compositional creativity of the last third of the 20th century – the first decades of the 21st century. However, this approach encourages numerous reservations both in view of the scientific value of such works and the development of the methodological potential of musicology.The need for differentiation of these concepts, their correct application in scientific practice (at least in relation to different historical periods) is becoming increasingly evident. Therefore, the proposed article is a contribution to the elaboration of this problem already started in national musicology, as well as an attempt to attract the attention of a wide range of researchers for further correlation of methodological approaches of Ukrainian scientific works with world experience in this important scientific field.

THE POETICS OF LOVE IN SOUND: THEORETICAL AND PERFORMANCE ASPECTS OF PETRO HAIDAMAKA’S VOCAL CYCLE “NO ONE HAS EVER LOVED LIKE THIS” TO POEMS BY VOLODYMYR SOSIURA

2025-07-17T11:18:37+03:00

The vocal cycle No One Has Ever Loved Like This by Petro Haidamaka, based on poems by Volodymyr Sosiura, is examined as a prominent example of Ukrainian chamber vocal music of the second half of the 20th century. This work combines the profound emotionality of Sosiura’s poetry with the refinement of the composer’s musical language, creating a cohesive artistic image that reveals the multifaceted nature of love as an emotional experience.It is noted that the cycle consists of eight romances for baritone, cello, and piano, each being a musical interpretation of an individual poem by Sosiura. The unity of the cycle is ensured by the imagery and emotional direction of each poem, which together exalt love in all its fullness and complexity. The selected poems are marked by deep lyricism, emotional richness, and vivid imagery, providing the composer with wide expressive possibilities. Sosiura employs a rich arsenal of poetic devices – metaphors, epithets, rhetorical questions, and direct addresses – that lend his verses particular expressiveness and emotional power.A comprehensive analysis of each romance demonstrates a wide range of musical-expressive techniques. The vocal line is characterized by smoothness and expressiveness, enabling the transmission of the subtlest nuances of the lyrical hero’s emotions. The harmonic language is rich in coloristic nuances, underscoring the emotional states of the characters. The cello and piano parts not only accompany the vocal line but also actively participate in shaping the imagery and mood of the work, creating an appropriate emotional background.It is argued that the vocal cycle No One Has Ever Loved Like This stands as an autonomous artistic work that reveals new dimensions of the poetic text. Haidamaka skillfully conveys the emotional content of the poems, using musical means to deepen and expand their expressive imagery. The cycle serves as a vivid example of the synthesis of poetry and music, in which both art forms mutually enrich one another.This cycle represents a valuable contribution to the national musical culture and merits further study and popularization.

RECEPTION OF SERHIY BORTKEVYCH'S CREATIVITY IN UKRAINE

2025-07-17T11:22:24+03:00

The purpose of the article is to trace the specifics of national reception in the contemporary work of Serhiy Bortkevych (1877–1952) – a composer, pianist and teacher.To realize the set goal a set of methods was used, including theoretical-analytical, musicological, historical, comparative and inductive-deductive methods. It was found that the creativity of S. Bortkevych began to enter the Ukrainian musical context only at the beginning of the new millennium, when the real renaissance of the artist’s work began. It aroused considerable interest among Ukrainian performers, conductors, and research scientists. Ukrainian Bortkevych-science includes a significant number of studies of various types, from scientific articles to candidate theses (O. Cherednychenko, T. Yakubov, E.Levkulych, etc.). Conductor Mykola Sukach, who performed all his symphonic opuses and wrote the book “Serhiy Bortkevich: Score of Life. Artistic – documentary mosaic” (2018) made a great contribution to the popularization of the composer's symphonic work in the Motherland. Before the revival of music S. Bortkevych, the well-known Ukrainian pianist, Honored Artist of Ukraine Mykola Suk, who in 2000 became the first performer of the composer's First Piano Concerto in Ukraine. Among the leading performers of his creative heritage, pianists Yevgen Levkulych, Pavlо Hintov, Vyacheslav Zubkov, Antony Baryshevsky, Dmytro Onyshchenko, violinist Temur Yakubov, and others should be singled out. In 2017 P. Hintov recorded a disc with solo piano works by S.Bortkevych. In 2021 an international online project “Christmas with Bortkevych” was held, in which researchers and performers from Ukraine, Poland, Italy, France, the Netherlands, Great Britain, Germany, Japan and the USA took part. “Melosvit” music publishing house made a significant contribution to the popularization of the composer's piano heritage.

THE EMBODIMENT OF MODERN UKRAINIAN POP INTONATIONALITY IN THE CREATIVE PARTNERSHIP OF BOHDAN VESOLOVSKY AND IRENA YAROSEVYCH

2025-07-17T11:25:38+03:00

The article is dedicated to the study of the phenomenon of corporeal intonationality in Ukrainian modern pop music of the 1930s, based on the example of the creative collaboration between composer Bohdan Vesolovsky and singer Irena Yarosevych. The focus is on interwar Lviv as a cultural center where an intensive genre and intonational renewal of Ukrainian song was taking place, particularly through the adaptation of popular Western genres (tango, foxtrot, rumba, jazz) to the Ukrainian musical environment. The article analyzes the transformation of Ukrainian song in response to the new aesthetic challenges of the era, tracing how the embodied intonation of popular global dance genres acquired a new form when combined with Ukrainian melodic style, intonational coloring, and psychological depth. Special attention is given to the adaptation of the bodily freedom characteristic of overseas genres to the Galician mentality, marked by restraint and moral "framing." In this context, the activity of the Yabtso-Jazz band, founded in 1930, and its impact on the formation of a new model of Ukrainian popular music are examined. Through the analysis of specific songs ("The Time Will Come", "For You Again", "Goodnight, My Love", "The Girl Was Like a Candy"), the article traces how Vesolovsky's musical and poetic techniques embody a modern concept of sensuality, where the bodily expression of world dance genres harmonizes with Ukrainian intonational dominance. It is revealed that even within the framework of the "light" entertainment genre, the composer maintains a high artistic standard. Special attention is given to the image of Irena Yarosevych (Renata Bohdanska) as an incarnation and symbol of female embodiment in Ukrainian pop music, which combines traditional modesty with emotional expressiveness. The article outlines an important stage in the development of Ukrainian pop music as a modern phenomenon, where not only a genre transformation occurs but also a new bodily articulation of Ukrainian identity. It offers a new approach to analyzing musical intonation through the prism of embodiment, opening up broad opportunities for further scholarly reflection in the fields of musicology, cultural studies, and the history of Ukrainian modernism.

CHU WANHUA'S COMPOSITION “THE MOON REFLECTED IN LAKE ERQUAN” IS A VIVID EXAMPLE OF A PIANO ARRANGEMENT OF A WORK FOR ERHU

2025-07-17T11:28:19+03:00

This article is dedicated to the analysis of Chu Wanhua’s piano variations “Moon Reflected in Erquan Lake” as an example of the synthesis of Western and Eastern musical traditions. It is noted that throughout the 20th century, Chinese piano music underwent processes of formation, development, prosperity, and periods of decline, closely tied to the dramatic chapters of China's history.The article highlights the work of Chu Wanhua, one of the most outstanding Chinese composers and pianists. Despite unfavorable periods in his life, he dedicated himself to music, creating a vast repertoire, predominantly for piano. Among his most significant works is “Moon Reflected in Erquan Lake”, a remarkable example of piano arrangement of a piece originally composed for the traditional Chinese instrument erhu. The composer masterfully combines pentatonicism with European harmonic techniques, giving the piece a unique timbral color.The title of the variations and the composer's musical language reveal a deep connection between natural phenomena, humanity, and national musical ideals. The analysis emphasizes Chu Wanhua’s expressive use of the piano to imitate the sound of the erhu. In particular, the application of arpeggiato techniques, imitation, and thematic call-and-response across different registers creates a multi-layered texture.Special attention is given to the analysis of the harmonic language, which is based on non-tertian chord structures, particularly quartal and quintal harmonies enriched with added seconds. This contributes to the shimmering effect of moonlight reflecting on the water’s surface. The study also examines the rhythmic organization of the piece, where dotted rhythms and syncopations play a crucial role, further approximating the piano’s sound to the timbral qualities of the erhu.The conclusion asserts that Chu Wanhua’s piano variations represent a masterful interpretation of a folk original, where Eastern sound aesthetics are harmoniously integrated with Western principles of musical form. It is noted that Chu Wanhua's unique approach to composition contributes to the popularization of Chinese piano music worldwide.