Українська музика

MUSIC AND VALUE – VALUE IN MUSIC. PROLEGOMENA

Volodymyr Hrabovskyi — 2025-10-23

МУЗИКА І ВАРТІСТЬ – ВАРТІСТЬ У МУЗИЦІ. ПРОЛЕҐОМЕНА

CHORAL CYCLE “PSALS OF KING DAVID” BY OLEKSANDR YACOVCHUK: PECULIARITIES OF EMBODYING THE SPIRITUAL CONTENT OF THE PSALTER TEXTS

Rafail Hasanov — 2025-10-23

The article provides the initial scholarly examination of Oleksandr Yakovchuk’s choral cycle “Psalms of King David”. The importance of the composer’s spiritually oriented choral compositions is emphasized. The dramaturgical structure of the cycle, based on Psalter texts interpreted poetically by Taras Shevchenko and translated by Ivan Ohienko, is analyzed. The genre classifications of the selected verses are delineated, with particular focus on prayers of praise, supplication, and thanksgiving, along with pieces of a solemn-dithyrambic, dramatic, mournful, and pathetic nature. It is established that the idea of human spiritual perfection unites all psalms of the cycle: from the state of despair and despondency (Ps. No.11) – to the experience of spiritual enlightenment (Ps. No.2) and the awareness of the complexity of the Christian choice (Ps. No.27). Special attention is drawn to the psalms based on Shevchenko’s verses, reinterpreted by the composer through the prism of contemporary political and socio-spiritual transformations. The dramaturgy of the cycle assigns particular significance to those psalms translated by Ohienko that reveal the inner conflict of the individual on the path to God (Ps. Nos.3, 27, 1, 22–23, 2). The musical language of these works is saturated with sharp dissonances, symbolizing the ambiguity of truth and the difficulty of choosing the righteous way. An analysis of form-building principles and expressive means demonstrates that the psalms of the cycle are characterized by free structures oriented toward variations of ternary, binary, and strophic forms, a predilection for minor tonalities, and a combination of functional chordal structures of the major-minor system with coloristic cluster harmony.A distinctive feature of the choral style in the psalms is the synthesis of Ukrainian folk and liturgical polyphony traditions with techniques of imitative polyphony, which testifies to the connection between Yakovchuk’s artistic thinking and the national spiritual and religious heritage.

“THE GENERAL MUSIC THEORY TEXTBOOK” BY S. LIUDKEVYCH IN THE CONTEXT OF GENERALIZATION OF UKRAINIAN MUSIC TERMINOLOGY OF LATE XIX – EARLY XX

Yakym Horak — 2025-10-23

The article elucidates the circumstance of compiling of S. Liudkevych “The General Music Theory textbook”, extant in the epistolary oeuvre of D. Nykolyshyn in the letters to the author, which influenced the establishment of terminology of the textbook, including the entries of principal definitions, codification of terminology etc. The comprehensive survey of music theory textbooks, in circulation of Ukrainian musical education at the time of publication of S. Liudkevych textbook and were co-related in methodology layout, as well as terminology: elementary theory as explanation of the art of singing, compendium textbooks with basic elementary skills for musician of various branches of musical theory, special music theory textbook with comprehensive explanation of every specific branch of music theory discipline. The right place established in the context of development of the treatises of the kind in Halychyna, as definite compendium-textbook, traced back to terminology layout to the ante-date textbooks of I.Kyprian and M.Copko as well as critical response in publications reviews. The use of Ukrainian terminology in I. Kyprian and M.Kopko textbooks specifically consummated and summarized in Liudkevych textbook, the achievements of Ukrainian, specifically Galician textbooks in Halychyna of XX century. The separate aspect of the textbook terminology is the explanation of still topical and in active use in contemporary musicology, musicological categories, which in Liudkevych textbook have somewhat different set of specific meanings: it concerns the categories of musical form, subject, phrase and period. The other Ukrainian music terminology is also mentioned, not in use in ante-date publications, as well as appended to the compendium “The Dictionary of Italian and foreign terminology explained”.The actual importance of the terminology, established in “The General music theoty” textbook is confirmed by its active use of terminology in the works of contemporary music theorists Y. Yakubiak and B. Lukaniuk.

POST-BOP IN THE WORK OF WYNTON MARSALIS

Artem Dmytrychenkov — 2025-10-23

The article explores the phenomenon of post-bop as one of the leading directions in the development of jazz art in the second half of the 20th century and outlines its key stylistic characteristics, in particular, the attraction to modal harmony, extended rhythmic structures, and the synthesis of elements of various jazz movements. Special attention is paid to the work of the outstanding American trumpeter Wynton Marsalis, who appears as one of the central figures of the jazz renaissance of the 1980s. Marsalis’ characteristic compositional techniques and improvisational approaches, as well as the combination of tradition and modern elements, are analyzed.It is emphasized that Marsalis, unlike most contemporary trumpeters, combined in-depth academic training with the traditions of jazz performance, which determined his unique style and defined him as one of the main reformers and popularizers of acoustic jazz.The article argues that the post-bop aesthetic in Marsalis’s work is manifested in complex chord sequences, unconventional metrorhythms, structural freedom of compositions, and intense collective interaction between the ensemble members. The characteristic features of his improvisational language, which combines traditional melodic contours with modern harmonic solutions and intertextual allusions to the work of Miles Davis, John Coltrane, and other prominent representatives of the jazz avant-garde, are analyzed. The role of Marsalis as a teacher and cultural figure who actively promotes jazz, while avoiding fusion experiments with electronics, instead remaining faithful to the acoustic tradition, is also emphasized.It has been established that Wynton Marsalis’s activities in the field of post-bop not only revived interest in traditional forms of jazz, but also launched a new wave of interpretations and innovative searches aimed at preserving and at the same time updating the jazz heritage in the context of modern cultural processes.

FEATURES OF THE EDITIONS OF GREEK AND SLAVIC MUSIC MANUSCRIPTS OF THE MONUMENTA MUSICAE BYZANTINAE SERIES

Maria Kachmar — 2025-10-23

The historical and cultural heritage of medieval European culture still requires attention and research. It is important to turn to the Byzantine heritage, as its traditions were adopted by Ukrainians' ancestors and are still preserved in Ukrainian sources today.The purpose of this publication is to follow the successful example of deciphering and reproducing forgotten texts. These texts are monuments of Byzantine musical art. They are in the MMB (Monumenta Musicae Byzantinae) series of publications. This series was founded by the Danish linguist and philologist Carsten Hug. In the 1930s, the Danish Academy in Copenhagen was an important scientific center of Byzantology, with the participation of the Faculty of Theology and the Institute of Church History. Therefore, the establishment of the MMB series there was quite logical.The series's strength lies in its structure. The areas of research are divided into the following groups: Principalis (facsimile editions of illegible musical manuscripts); Subsidia (research); Transcripta (transcriptions of illegible notation); Lectionaria (readings of prophetology); and Corpus Scriptorum de Re Musica (musical treatises). This sequence and systematization of research is key to thoroughly understanding ancient heritage using a well-developed methodology, and it is a good model to follow. Therefore, reviewing this series reveals a research methodology consisting of well-developed tasks and methods, such as observation, comparison, analysis, synthesis, and historical and cultural analysis.Of particular importance is the use of the research base of musical paleography, manuscript description, dating, textology, codicology, source studies. The comprehensive approach ensured a high level of publication of ancient sources of liturgical sung books: the Greek Irmologion, Sticherarion, Triod’, Kontakion, the Slavic Kontakion (Uspensky), Irmologion and Sticherarion (fragments of the Hilandar manuscripts), Greek theoretical treatises of the 13th-14th centuries (Gabriel Hieromonachos, The Treatise Of Manuel Chrysaphes The Lampadarios, Hieronymos Tragodistes, Anonymous Questions And Answers On The Interval Signs, Die Eratopokriseis Des Pseudo-Johannes Damaskenos Zum Kirchengesang, Der Traktat Des Akakios Chalkeopoulos), transcriptions of hymns of the Sticherarion (September, November), hymns of the Octoechos, the Irmologion, the Akathist hymns. Each study also examines the history of liturgical genres, tells about the creators of hymns, establishes the figures of copyists, authors of sources. Among the authors of the publications in this series are Danish, Italian, German, American and Bulgarian scientists: E. Wellesz, G. Tillyard, C. Høeg, L. Tardo, R. Palikarova-Verdey, M. Velimirović, R. Jakobson, A. Bugge, Ch. Hannick, O. Strunk, J. Raasted, Ch. Thodberg, L. Peria, E. Follieri, M. Szydlowski, G. Wolfram, K. Troelsgård.The reader is offered an overview of the contents of the MMV series, the history of its creation, the search methodology, and the authors' experience of working with Greek and Old Slavonic monuments of Byzantine hymnography.

MYKOLA LASTOVETSKYI’S SYMPHONIC CREATIVITY ON THE EXAMPLE OF THE WORK “THE LEGEND ABOUT KARMALIUK”

Zoryana Lastovetska-Solanska — 2025-10-23

The purpose of the article is to consider the symphonic creativity of the modern Ukrainian composer Mykola Lastovetskyi (*1947) on the example of the analysis of his work “The Legend about Karmaliuk” (1969, second edition 1999, third edition 2024). The scientific novelty of the research lies in the fact that it is the first time that the identified work has been investigated in the context of the composer’s individual compositional style. For this, a complex methodological approach was used, with the predominance of musicological, theoretical-analytical, systematic, comparative and generalizing methods. Conclusions.The idea of creating a work about U. Karmalіuk appeared during composer’s excursion to the Old Fortress in Kamianets-Podilskyi, in which one of the towers is dedicated to the figure of a national hero.The symphonic works of M. Lastovetskyi vividly reflects his thinking as a composer, as a symphonist. In the work “The Legend about Karmaliuk”, as in other symphonic compositions, the artist uses various orchestral tools, tonal dramaturgy and polyphonic techniques. The genre-stylistic paradigm of the work correlates with its programmatic idea, structure, musical semantics and musical expressive means. For the intonation basis of the symphonic “Legends about Karmaliuk” by M. Lastovetskyі used the version of the melody of the song about the folk avenger «The sun rises over Siberia». The image of Ustym Karmaliuk, as a lyrical hero, is revealed consistently, with a positive-connotative image-emotional dominant. Creating hero’s musical characteristics, the timbres of wind instruments prevail, which is related to the heroic image of the main character. In general, the musical text of “The Legends about Karmaliuk” testifies to the artist’s attraction to texture polyphonization, timbre dramaturgy, original form (mixed or free variation-sonata), demonstrates a free mastery of orchestral means, the originality of composer’s creative method.

PRELUDE AND FUGUE IN A MINOR NO. 2 BY V. ZADERATSKY AS A MUSICAL MODEL OF ANXIOUS TIME

Natalia Makarova — 2025-10-23

The article is devoted to the life and work of the Ukrainian composer V. P. Zaderatsky, especially the study of a part from the cycle “24 Preludes and Fugues”, namely the Prelude and Fugue in A minor No. 2. The purpose of the study is an attempt to shed light on the historical, cultural and psychological motives of creativity. For this purpose, a wide range of historical sources were studied, mainly related to the conditions of life in concentration camps, psychological works, in particular the work of Viktor Frankl, who at one time also went through Auschwitz and survived, and after his release wrote the book “Man in Search of True Meaning”, where he described all the horrors of the life of prisoners and characterized the psychology of survival in inhuman conditions, in particular depersonalization, loss of faith, lowering the threshold of emotional sensitivity and the search for the meaning of life, despite the training and pain. For V. P. Zaderatskyi’s such a story was the cycle “24 Preludes and Fugues”, which is a kind of musical mystical-psychological diary.Here, each mini-cycle is a story about the psychological state of anxiety, hope, and bright faith in the Future. The study pays special attention to the psychological aspects inherent in the prelude and fugue in A minor No. 2, namely the emotions of anxiety that accompany a concentration camp prisoner and become basic throughout the entire period of imprisonment. Despite the heroic core of the fugue’s theme, internal struggle, and psychological saturation, the outcome is still tragic. The only thing that can keep a person within the framework of minimal psychological adequacy is the memory of his relatives, his native land, and hope for a better future. It is this state that the composer “draws” in the prelude of the mini-cycle, reinforcing it with “triplet” anxiety, which creates a feeling of uncertainty and tension. The cycle “24 Preludes and Fugues” by V. P. Zaderatsky has not yet been permanently included in the concert and pedagogical repertoire, and scientific research is limited to single publications and scant mentions in dissertation studies dedicated to composers of the 20th–21st centuries. The composer’s work demonstrates that even in the most difficult times, similar to those that our state is experiencing today, that no matter what, one must fight for one’s own identity, for the preservation of historical and cultural memory and pass it on to descendants.

BETWEEN BODY AND TEXT: THE MUSICIAN’S SOMATIC INTELLIGENCE AS THE BASIS OF EMOTIONAL INTERPRETATION

Mariia Obolenska — 2025-10-23

The article analyzes the phenomenon of somatic intelligence as a central mediator between the musical text and the emotional experience embodied in performance. It addresses the corporeal nature of musical thinking, emphasizing that the interpretation of a musical work is not merely an analytical act but a deeply embodied and emotionally charged process. Using an interdisciplinary approach, the study integrates methods of performance analysis, phenomenology, emotional intelligence theory, and contemporary frameworks of embodied music cognition. Special attention is given to articulation as an external manifestation of the performer’s emotional intention. The purpose of this article is to outline the concept of somatic intelligence as a key link between the musical text and the expressive-emotional dimension of performance. Somatic intelligence is examined in relation to the musician’s emotional and cognitive intelligences, forming a triad of interrelated components of interpretative activity that directly influence the articulation of sound.This threefold perspective allows for a description of the body, affect, and consciousness as integrated, interdependent domains that shape the nature of musical gesture. Scientific novelty.For the first time in Ukrainian musicological discourse, the study offers a systematic interpretation of the musician’s somatic intelligence as a distinct entity situated between emotional and cognitive intelligences, which directly shape interpretative strategy. The article proposes a model of body– text interaction as a productive framework for analyzing the performance process, wherein the musician’s body functions not as a passive tool of technique, but as an active transmitter of meaning and emotional states. As a result, the study reveals mechanisms through which the musical text is transformed into emotionally colored sound via bodily articulation (breathing, gestures, muscle coordination) as key tools of interpretation. It is demonstrated that the concept of somatic intelligence allows for a new understanding of performance, integrating bodily sensitivity, emotional experience, and interpretative thought into a unified artistic system.

THE FANTASY JASMINE FLOWERS BY CHU WANGHUA: SYMBOLIC IMAGERY AND ITS MUSICAL INTERPRETATION

Oksana Pysmenna — 2025-10-23

The article highlights that the piano Fantasy “Jasmine Flowers” (2003) by Chinese composer Chu Wanghua represents the pinnacle of his late creative period. In this composition, the intonational layers of national folk music are intricately interwoven with the diverse palette of European expressive means. At the core of the work lies the well-known folk song “Jasmine Flowers”, which in Chinese culture symbolizes purity, femininity, and spiritual harmony. However, for the composer, it becomes more than just a theme for arrangement – it serves as a source of profound artistic transformation. In the Fantasy, the folk melody unfolds within a large-scale piano composition characterized by a free, arch-like structure, integrating elements of the rondo, ternary form, and concentric development.A comprehensive analysis of the work reveals that the thematic material undergoes a reinterpretation imbued with new emotional meanings through the use of extended pentatonic passages, impressionistic chordal textures, and the imitation of the timbres of traditional Chinese instruments such as the guqin, erhu, pipa, and xiao. Notably, the climactic cadenza appears not at the end, but at the structural center of the work, alluding to the traditions of Chinese instrumental music, where virtuosic insertions often hold symbolic significance. Complex polymeter, timbral effects, and expressive markings such as subito passionate, una corda, and con fuoco reveal the composer’s nuanced approach to the imagery and philosophical conception of the piece, thereby enhancing the multidimensional symbolism of the jasmine flower.The analysis of the musical language demonstrates a synthesis of pentatonic intonations with elements of the European Romantic tradition. The impressionistic harmony, characterized by soft textures and blurred chordal fields, is achieved through the use of pedal, arpeggiation, and register contrasts. The vertical layering of multiple textural strata and the employment of quasi-polyfunctional sonorities reflect the composer's use of techniques associated with contemporary musical language. Chu Wanghua employs modal inflections alongside European tonal logic. The Fantasy reveals a dialogue of cultures: the songfulness and meditative qualities of the East resonate with the Romantic expressiveness and the art of interiority, fleeting impressions, and emotional and sensory elusiveness of Western Impressionism.

UKRAINIAN MUSIC FESTIVALS OF THE LATE 1980S AS PRESENTS OF SOCIAL AND POLITICAL HARBINGERS IN UKRAINIAN

Zoriana Rosʹ — 2025-10-23

This article is dedicated to iconic musical events that demonstrated the mood of the Ukrainian community at the end of the 80s – the desire for freedom and independence and predicted socio-political changes in Ukraine. These are two famous Ukrainian festivals «Oberig» and «Chervona Ruta», which performed an important state-building function in Ukraine, formed a modern pop youth school of national music, helped to develop a new vision of modern Ukrainian culture with the aim of integrating it into the world cultural space. The purpose of the article: to determine the role of the Ukrainian festivals "Oberig" and "Chervona Ruta" in the establishment of national- patriotic ideas as harbingers of socio-political changes in Ukraine and to outline the genre-stylistic features of their musical content. Due to the fact that in the reference and musicological literature there are contradictory definitions of the features of the genres of "author's bardic song" and "sung poetry", a comprehensive understanding of these genre varieties, which were declared in the full name of the festival "Oberig", was carried out, and their stylistic features were determined. The author gives the author gives his interpretation of these phenomena, defining them as two genre varieties of bardic art, which are close in existence, but each of which has its own genre features: "author's bardic song" was created on Ukrainian-language texts by the performers themselves, and «sung poetry» – on verses by Ukrainian poets or interpretations of folk songs. The purpose of the festivals was the popularization of modern Ukrainian music, the search for and support of talented performers in the genres of «author's bard song» and «sung poetry», the presentation of the musical heritage of the past and present liberation struggles of the Ukrainian people, the involvement of Ukrainian youth in the formation of patriotic consciousness by means of Ukrainian mass music, the formation the image of a strong and indomitable European nation with deep historical and cultural traditions, etc. The history of their creation was described, the thematic orientation and features of genre varieties of festival musical compositions were analyzed.

THE METRONOME: A COGNITIVE CRISIS OF MUSICAL TIME

Tetiana Samaya — 2025-10-23

This article sets out to examine the psychophysiological and cognitive aspects of musical time standardisation through the use of the metronome, along with a critical evaluation of its excessive popularity in educational practice. This phenomenon has reached what may be described as ‘metronome mania’: an obsessive reliance on the metronome as a universal tool for regulating and correcting rhythm in music pedagogy and performance. It reflects a pathological drive towards mechanical standardisation of musical time, suppressing the natural fluidity of tempo and the expressive rhythmic-intonational qualities of performance.An interdisciplinary approach is employed, drawing on principles of music pedagogy and performance practice to enable a comprehensive analysis of the phenomenon under consideration.The study explores musical time as a living perceptual process, as opposed to its fixation through metronomic measurement. Particular attention is given to the formation of motor memory, rhythmic intention and the internal sense of tempo in novice musicians. Common pedagogical errors that hinder the development of organic rhythmic thinking are identified. The study finds that excessive use of the metronome fosters dependency on external pulsation, thereby impeding the development of autonomous temporal perception. The notion of a ‘metronomic dogma’ is introduced to describe an inflexible approach that distorts rhythmic intonation and obstructs the attainment of musical expressiveness. The article argues for the replacement of the metronome-centred model of rhythmic training with an approach based on motor perception: latent chronometry and internal temporal organisation. It is demonstrated that a stable rhythmic sense is not developed through submission to external auditory cues, but through the cultivation of an internal perception of time, bodily- motor synchronisation, vocal articulation of rhythm and the capacity for improvisational variation.The role of rhythmic intention is emphasised as a means of semantic and emotional structuring of musical time. The development of professional performance thinking, it is argued, requires a shift towards a flexible, phenomenologically grounded interpretation of rhythmic texture. Musical time is thus conceptualised as a dynamic and richly layered phenomenon, shaped by the performer’s sensory experience and offering new pathways for cultivating expressive rhythmic thought.

MELODIC FORMULA AS A UNIVERSAL MODEL OF LITURGICAL AND FOLKLORE MELODY (BASED ON THE CORRESPONDENCE OF MYROSLAV ANTONOVYCH AND PAVLO MATSENKO)

Natalia Syrotynska — 2025-10-23

The article examines the correspondence of Myroslav Antonovych and Pavlo Matsenko from the perspective of medieval sacred monody, particularly its structure, the basic unit of which was a melodic formula – a fixed melodic-intonational phrase (chant, melodic phrase). The formulaic material served as the basis for the construction of chants of various genres, varied, was transposed, but remained recognizable, ensuring the stylistic integrity of the liturgical repertoire. Formulaic thinking is characteristic of the Greek-Byzantine, Latin, and Slavic-Russian liturgical traditions, as confirmed by liturgical collections with neumatic and linear notation.The somewhat different views of P. Matsenko and M. Antonovich on the genesis of Ukrainian liturgical singing stand out. In particular, P. Matsenko insisted on the process of “Ukrainization” of the ritual repertoire in the first centuries after the baptism of Rus, on its profound transformation on local soil. M. Antonovich, on the other hand, leans toward the theory of the Byzantine origin of Ukrainian church music, drawing certain analogies with painting and architecture, which were strongly influenced by Byzantium.Particular attention is paid to the functionality of melodic formulas from the perspective of the connections between the internal melodic structure and the osmo-gloss system. This direction was also of interest to P. Matsenko, who considered the question of form and voice affiliation to be the key to solving the problem of voices in Byzantine music. The forms and degrees of similarity of intonation within different rites and connections with folklore are also considered. The possibility of the influence of sacred melodies on folk song creativity is suggested. In this context, the use of the wide possibilities of computer technology is proposed, which will allow a large amount of research material to be covered.In conclusion, the prospects for determining the degree of closeness of melodic-intonational connections in the sung liturgical space of Christian rites of different denominations, as well as the genetic connection between sacred monody and Ukrainian folklore, are outlined.

NATIONAL-ROMANTIC INTERPRETATION OF THE GENRE OF THE CONCERTO FOR PIANO AND ORCHESTRA IN THE VITALIY KYREYKO’S BODY OF WORK

Iryna Shesterenko — 2025-10-23

The article is devoted to revealing the genre-stylistic features and socio-historical context of the creation of “Poem”, “Symphonic Variations” and “Fantasy” by Vitaliy Kyreyko for piano and orchestra, as well as to clarifying the significance of these works in the contemporary artistic space.All concert and symphonic works by V. Kyreyko are marked by romantic imagery and Ukrainian national style, which distinguishes his musical opuses among others. The first musicological analysis of Vitaliy Kyreyko's works for piano and orchestra made it possible to clarify the evolution of the artist's musical style, which took place towards the dramatization and laconicization of musical writing, and the chamberization of compositional structure. The rethinking takes on the genre of a concert: the monumental three-movement cycle is replaced by one-movement compositions with romantic titles (Poem, Symphonic Variations, Fantasy) and new developmental functions with emotional and psychological aggravation. The artist's search for a synthesis of objective ancient Ukrainian melos and pan-European principles of composition with subjective lyrical imagery is reflected through the re-intonation of folklore stylistics. V. Kyreyko rethought the genre of the concerto for piano and orchestra in a national-romantic vein, interpreting it through the prism of deepening philosophical knowledge and reflecting worldview. Vitaliy Kyreyko's highly artistic and masterful works for piano and orchestra have a great importance for enriching the Ukrainian national repertoire for both current and future performers. The study, preservation, digitization, and performing popularization of the creative heritage of Vitaliy Dmytrovych Kyreyko remains a pressing issue for modern Ukrainian musicologists and performers.

SUITES FOR BANDURA IN THE WORKS OF MYKOLA DREMLIUGA

Solomia Schuliar — 2025-10-23

The article provides a detailed analysis of three suites for solo bandura by Mykola Dremliuga – a significant part of his instrumental output that represents one of the key directions in the development of Ukrainian music in the second half of the 20th century. The characteristic features of the composer’s style are identified, particularly the organic fusion of folk intonations with elements of European academic principles of form-building, which gives his works a national sound harmoniously combined with classical canons and individual stylistics. A comprehensive analysis of the presented suites has been carried out, along with an outline of the genre and stylistic specifics of each cycle: A comprehensive analysis of the presented suites has been carried out, along with an outline of the genre and stylistic specifics of each cycle: the First Suite is marked by neo-folk expression, vivid imagery contrasts, a couplet-variation form, and dramaturgical symmetry; the Second Suite by its genre diversity – a combination of rondo, duma, shchedrivka, theme with variations, and a virtuosic finale that creates a plot-rich cycle colored with folk song and dance elements; the Third Suite is stylized after Baroque forms (preludes, fugues, passacaglia, humoresque), which allows us to speak of the manifestations of neo-stylistics and Baroque aesthetics in a modern authorial interpretation.Within this study, a thorough analysis has been conducted of the structure, themes, modal-harmonic language, rhythm, form-building principles, textural content, and compositional techniques used. Trends such as cyclic structure, thematic variation, complex metric-rhythmic organization, expressive textural thinking, and partial rejection of through thematicism are also identified.This article highlights the important role of Mykola Dremliuga’s three suites for bandura in the formation of the academic bandura repertoire.Mykola Dremliuga’s compositional thinking is distinguished by stylistic flexibility, virtuosic command of the bandura’s instrumental capabilities, and a modern reinterpretation of Ukrainian tradition, which secures his legacy a significant place in the history of 20th-century Ukrainian instrumental music.

IN THE RHYTHMS OF A SERIOUS ANNIVERSARY

Liubov Kyianovska — 2025-10-23

IN THE RHYTHMS OF A SERIOUS ANNIVERSARY