No. 4 (30) (2018): Ukrainian music: scientific journal

Статті

• COMPOSER OF TRAGIC FATE

  Stefaniia Pavlyshyn

  6-10

  • PDF (Українська)

• THE MULTIDIMENSIONALITY OF VASILY BARVINSKY'S CREATIVE AND PUBLIC ACTIVITIES

  Bohdana Filts

  11-21

  • PDF (Українська)

• SYMBOLISTIC TRENDS IN THE VASYL BARVINSKYI’S CREATIVITY. WORKS ON THE BOHDAN LEPKYI LYRICS

  Lilia Nazar-Shevchuk

  47-63

  • PDF (Українська)

• PRESERVATION AND PROMOTION OF THE CREATIVE HERITAGE OF VASYL BARVINSKY BY UKRAINIAN ARTISTS ABROAD

  Hanna Karas

  36-46

  • PDF (Українська)

• VASYL BARVINSKYI IN UKRAINIAN-POLISH ART SPACE IN THE INTERWAR LVIV

  Uliana Hrab

  64-74

  • PDF (Українська)

• SYMBOLISTIC TRENDS IN THE VASYL BARVINSKYI’S CREATIVITY. WORKS ON THE BOHDAN LEPKYI LYRICS

  Lilia Nazar-Shevchuk

  47-63

  • PDF (Українська)

• TURNING OVER THE PAGES OF THE “PERSONAL CASE” OF VASYL BARVINSKYI

  Liudomyr Filonenko

  75-83

  • PDF (Українська)

• VASIL BARVINSKY IN THE NEWSPAPER WORD OF NESTOR NIZHANKIVSKY

  Ulyana Molchko

  84-94

  • PDF (Українська)

• VASYL BARVINSKYI’S CHORAL WORKS

  Nataliia Kobryn

  95-107

  • PDF (Українська)

• IMPLEMENTATION OF UKRAINIAN FOLK VOCAL AND INSTRUMENTAL MELOS IN THE WORKS OF VASYL BARVINSKY AND SERHII OREL

  Yarema Pavliv

  108-119

  • PDF (Українська)

• FROM THE HISTORY OF RELATIONS BETWEEN VASYL BARVINSKYI AND SEVERYN SAPRUN JR.

  Iryna Dovhaliuk

  120-128

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• YEVHENIIA BARVINSKA’S FIGURE AS ARTIST – VIEWED AGAINST THE BACKDROP OF MUSIC, CULTURE, AND CIVIL SOCIETY IN THE FIN-DE-SIECLE GALICIA

  Oleksandra Nimylowycz

  129-137

  • PDF (Українська)

• THE GOLDEN SECTION IN BARVINSKY’S PIANO PRELUDES OP. 8, NOS. 1–4

  Nina Soyfer

  138-156

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• ANOTHER STROKE TOWARDS CREATIVE PORTRAIT OF THE ARTIST: ONE OF THE LATEST LETTERS OF VASYL BARVINSKYI

  Nina Dyka

  157-163

  • PDF (Українська)

• THE EPISTOLARY OF MYKOLA LYSENKO AS A SOURCE OF HIS RELATIONS WITH GALICIANS

  Olga Kuznietsova

  164-173

  • PDF (Українська)

• HOW "BARVINSKYI’S CRIMINAL CASE" WAS FABRICATED (based on material of the criminal case from the archives of State Security of Ukraine)

  Kateryna Zahnitko

  174-189

  • PDF (Українська)

• THE CYCLE OF ‘21 UKRAINIAN FOLK SONGS’ FOR VOICE AND PIANO BY STANISLAV LIUDKEVYCH IS A NEW WORD IN THE GENRE OF FOLK SONG ADAPTATIONS

  Mykhailo Stefaniuk

  190-200

  • PDF (Українська)

• THE LYRICS AND ARIA TYPE IN STRAICHTENING THE LYRICAL OPERA

  Vang Mingjze

  201-207

  • PDF (Українська)

• TO THE SOURCES OF METHODOLOGY OF VOLODYMYR VASYLEVYCH

  Ivan Chupashko

  208-212

  • PDF (Українська)

• MODERN PIANO PERFORMANCE IN PROLONGATION OF THE CULTURAL TYPOLOGY OF BEING TO UKRAINE AND WORLD

  Lilia Shevchenko

  213-220

  • PDF (Українська)

• THE CHOICE OF VISUAL MEANS OF NON-VERBAL COMMUNICATION IN SINGING BY ACADEMIC NOVICE VOCALISTS

  Mykola Tetiuk

  221-225

  • PDF (Українська)

• THE POETICS OF THE LVIV "CHRISTMAS MUSIC GIFTS" OF THE ACADEMY CHAMBER ORCHESTRA AND GLORIA CHAMBER CHOIR

  Liliia Nazar-Shevchuk

  226-241

  • PDF (Українська)

• FIRST INTERNATIONAL VIOLIN COMPETITION MYROSLAV SKORYKA

  Stefaniia Oliinyk

  242-244

  • PDF (Українська)

• THE ROLE OF VASIL BARVINSKY IN THE IMPLEMENTATION AND FORMATION OF THE NATIONAL DIMENSION OF THE E. JACQUES-DALCROSE SYSTEM IN HALICHINA IN THE FIRST HALF OF THE 20TH CENTURY

  Liubov Nazar

  245-255

  • PDF (Українська)

• CHILDREN'S BALLET "SPRING" BY STEPHANIA TURKEVICH-LUKIANOVICH

  Viktoriia Shershun

  256-262

  • PDF (Українська)

• REVIEW OF NATALIA KOSTYUK'S MONOGRAPH Ukrainian liturgical musical culture of 1801–1916 (scientific-didactic, practical-singing, concert-performance and compositional aspects) / IMFE NAS of Ukraine. Kyiv, 2018. 654 p.

  Yurii Yasinovskyi

  263-265

  • PDF (Українська)