No. 2(53) (2025): Ukrainian music: scientific journal

Статті

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

Viacheslav Boiko, Viktoriya Gigolayeva-Yurchenko, Igor Sakhno

7-13
- PDF (Українська)
THE ROLE OF WORSHIP AND PRAISE SONGS IN CONTEMPORARY EVANGELICAL CHURCHES OF UKRAINE

Tetiana Bulakh

14-19
- PDF (Українська)
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

DaQian Gao

20-27
- PDF (Українська)
HISTORICALLY INFORMED VOCAL PERFORMANCE IN THE MIRROR OF MODERN MUSICOLOGICAL RESEARCH

Mariia Hryhorieva

28-34
- PDF (Українська)
TEACHING METHODS FOR DOUBLE BASS PLAYING FOR YOUNG CHILDREN IN UKRAINE: APPROACHES AND CHALLENGES

Daniil Hrushyn

35-42
- PDF (Українська)
SELECTED SONGS FROM GAETANO DONEZETTI'S CYCLE “SUMMER NIGHTS IN PAUSILIPPE” (“NUIT D'ÉTÉ À PAUSILIPPE”) (AN ATTEMPT AT A MUSIC-THEORETICAL ANALYSIS)

Yajuan Deng

43-53
- PDF (Українська)
APPROACHES TO METHODOLOGICAL PERSPECTIVES OF THE APPLICATION OF THE CONCEPTUAL CONCEPT OF "CHURCH MUSIC" IN THE CONTEXTUAL SECTION OF ENCYCLOPEDIC PUBLICATIONS

Nataliia Kostiuk

54-60
- PDF (Українська)
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

Oksana Pysmenna, Mykhailo Hryno

61-73
- PDF (Українська)
RECEPTION OF SERHIY BORTKEVYCH'S CREATIVITY IN UKRAINE

Stepan Solanskyi

74-79
- PDF (Українська)
THE EMBODIMENT OF MODERN UKRAINIAN POP INTONATIONALITY IN THE CREATIVE PARTNERSHIP OF BOHDAN VESOLOVSKY AND IRENA YAROSEVYCH

Mariia Stokolias

80-87
- PDF (Українська)
CHU WANHUA'S COMPOSITION “THE MOON REFLECTED IN LAKE ERQUAN” IS A VIVID EXAMPLE OF A PIANO ARRANGEMENT OF A WORK FOR ERHU

Jinlin Yang

88-96
- PDF (Українська)

MATERIALS

EPISTOLARY CONTACTS OF THE LEVYTSKY FAMILY WITH STANISLAW LYUDKEVICH

Yakym Horak

97-117
- PDF (Українська)
LVIV VOCAL SCHOOL NAMED AFTER: PROFESSOR VALERY VYSOTSKY (DEDICATED TO THE 190TH ANNIVERSARY OF HIS BIRTH)

Myroslava Zhyshkovych

118-128
- PDF (Українська)

CONCERT LIFE, REVIEWS

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

Liubov Kyianovska

129-132
- PDF (Українська)
LET'S BREAK THIS ROCK! REFLECTION ON THE INTRODUCTION OF THE TERM "GRASSY-ROOTS"

Natalia Syrotynska

133-134
- PDF (Українська)

Full Issue

Статті

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

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

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

HISTORICALLY INFORMED VOCAL PERFORMANCE IN THE MIRROR OF MODERN MUSICOLOGICAL RESEARCH

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

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

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

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

RECEPTION OF SERHIY BORTKEVYCH'S CREATIVITY IN UKRAINE

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

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

MATERIALS

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)

CONCERT LIFE, REVIEWS

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"

Language

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