Українська музика

EVOLUTIONARY PROCESSES IN ROCK MUSIC OF THE SECOND HALF OF THE 1960S

2026-05-31T11:32:30+03:00

The article focuses on clarifying the status of the "classical" within the realm of rock music by combining cultural-historical and music-theoretical approaches. The author examines classical heritage as a stable element of musical culture that forms during periods of artistic ascent and serves as a benchmark for subsequent generations. It is emphasized that in mass musical culture, the term "classical" functions not only as an evaluative label but as an analytical category, enabling the identification of genre development patterns and mechanisms of continuity. The study traces differences in the perception of rock music across various generations. For younger audiences, the primary factor is the chronological distance of the work, whereas for older listeners, it is the connection to personal listening experience and cultural memory. This divergence leads to a variety of interpretations and highlights the dependence of "classical" status on the sociocultural context. The central focus is an analysis of the second half of the 1960s as a pivotal stage in the establishment of rock music as an independent phenomenon. It is demonstrated that this period saw the formation of a complex set of principles for working with musical material that defined the genre’s further evolution. These include: the dismantling of established genre boundaries and active synthesis of diverse elements; the expansion of harmonic and rhythmic models; a reorientation toward creating original repertoire; and the consolidation of the collective nature of creativity, where the rock band acts as a single creative unit. The practice of cover versions is examined separately as a method of interpreting borrowed material and manifesting the individual style of performers. The conclusions emphasize that the "classical" status of rock music is determined not merely by historical distance or popularity, but primarily by the resilience of artistic principles and models that remain productive in subsequent musical practice. This allows for the interpretation of the concept of "classical" as a synthesis of cultural status and specific musical-structural characteristics

ENSEMBLE MUSIC-MAKING AS A POLYSUBJECTIVE SPACE FOR THE DEVELOPMENT OF CREATIVE THINKING OF FUTURE TEACHERS IN THE SYSTEM OF PIANO TRAINING

2026-05-31T11:39:18+03:00

The article is devoted to conceptualizing ensemble music-making as a polysubjective artistic and educational space for the development of creative thinking of future teachers within the system of piano training. The relevance of the study is обусловed by the need to reconsider the role of ensemble practice in the system of professional training of higher art education students from the perspectives of dialogicity, performativity, and synergy. The aim of the article is to determine the theoretical and methodological foundations of ensemble functioning as a developmental environment that ensures the integration of individual and collective principles in the process of meaning-making. The methodological framework includes historical-theoretical analysis, generalization of scholarly positions regarding the nature of ensemble interaction, and a synergetic approach to collective music-making. It is revealed that the polysubjective organization of the ensemble activates the analytical, prognostic, imagery-associative, and reflective components of creative thinking, fosters variability of artistic choice, the ability for anticipatory forecasting, and the conscious adjustment of the performance concept. The performative dimension of ensemble activity is substantiated as a form of artistic communication aimed at expanding emotional and aesthetic experience and unfolding an open dialogue with the audience. A system of methods (synergetic listening, collective interpretative laboratory, emotional resonance wave, digital co-creation) is outlined to ensure the practical implementation of this approach in piano training. It is noted that the proposed model of ensemble interaction enhances awareness of performance activity and develops the communicative and creative potential of future music teachers. The scientific novelty lies in interpreting ensemble music-making as an integral self-organizing artistic system, an artistic and educational studio in which an emergent quality of sound arises and an integrated type of creative thinking of future music teachers is formed under conditions of co-creative polysubjective instrumental performance interaction

THE EVOLUTION OF THE CONCEPT OF INDIVIDUALITY IN SCHOLARSHIP AND ITS MUSICOLOGICAL OPERATIONALIZATION THROUGH PERFORMING STYLE, INTERPRETATION AND THE CREATIVE METHOD OF THE CONDUCTOR-CHOIRMASTER

2026-05-31T11:44:49+03:00

The article examines the evolution of the concept of individuality in the humanities and proposes its musicological operationalization with reference to the activity of the conductor-choirmaster The relevance of the topic stems from the fact that in contemporary musicology the notion of individuality is often used as a descriptive and evaluative label, whereas without terminological clarification and conversion into research parameters it remains methodologically diffuse and poorly suited to comparative, historical, and empirical inquiry. The study focuses on the correlation between individuality, performing style, interpretation, and the creative method of the conductorchoirmaster. The research combines the history of concepts, musicological analysis, comparative procedure, hermeneutic reading, and systems thinking, which makes it possible to trace the evolution of the term in the humanities, identify its semantic transformations in musicology, and construct a working model for its application in conductor studies. It is argued that the individuality of the conductor-choirmaster should be understood not as an abstract psychological or rhetorical characteristic but as an integral system of stable artistic-semantic and procedural-organizational features manifested through the creative method, interpretation, and performing style. A threelevel model is proposed in which the creative method represents the procedural and organizational level of manifestation, interpretation the level of meaning production, and performing style the perceptually fixed level of artistic realization. The article demonstrates that the triad “style – interpretation – creative method” shifts the category of individuality from the sphere of general characterization to that of observable and comparable parameters. A set of indicators suitable for the analytical study of conducting practice is formulated: the type of work with the score, rehearsal strategy, tempo-rhythmic decision-making, dynamic and phrasing dramaturgy, treatment of verbal text, timbral and textural sound ideal, the model of interaction with the choir, and the degree of stability of these features in different performance situations. It is substantiated that a conductor’s individuality cannot be inferred from a single performance, cannot be reduced to gestural manner alone, and requires analysis of a corpus of recurring artistic decisions. The proposed model defines the limits of the concept’s correct application in conductor studies and provides a basis for further empirical verification on the material of Ukrainian choral practice

НЕВІДОМИЙ СКРИПАЛЬ І ПЕДАГОГ СТЕФАН ОҐРОДНІК У ДЗЕРКАЛІ ДОКУМЕНТІВ

2026-05-31T11:52:18+03:00

On aground of archive oeuvre – manuscripts from S. Liudkevych and Kolessa family archives, publications in press – the article the attempt of elucidation of a lesser reknown at present personality of violinist, teacher of Yavoriv and Drohobych departments Stephan Ogrodnik (1909–1941). As it appears, S. Ogrodnik, from Lviv family, received education in relation to the arrest and a sentence in Lviv Bryhidky prison, altimetly passed the graduation exams. From his early years of studies, he worked as a teacher in Yavoriv department of Alma Mater institute and, from the early 1930-ties until 1939 he worked as a teacher of violin and theory of music in Drohobych. During his employment in Drohobych he actively participated in recitals as a solo violinist. In 1937-38 he also took part as a cellist in newly created Drohobych string quartet, conducted the pupil’s orchestra of Drohobych Ukrainian Ivan Franko Gymnasium, successfully as a composer, published several artickles in “Ukrainian Music” periodicals. During all his musical life he contacted S. Liudkevych at his studies and employment, to which testify his extant letters. In 1938 he were among the organizers and lecturers on a special violin teacher’s conference at High Music Institute Departament. As a follow up activity, S.Ogrodnik wrote “Methodic Handbook of a violin playing”, the main principles are elucidated in the article. The circumstance of his life during the war are uknown, apart from his being arrested and shot in 1941 in Nahuevychi. He appeared as a bright and talented personality, but not to the full extent as he deserved. In the appendix are published texts with scientific commentary of 8 letters of S. Ogrodnik to S. Liudkevych.

THE ARIA-PRAYER ‘LORD OF HEAVEN AND EARTH!’ AS THE DRAMATIC CENTRE OF ANDRIY'S CHARACTER IN SEMEN HULAK-ARTEMOVSKY'S OPERA «ZAPOROZHETS BEYOND THE DANUBE»

2026-05-31T12:00:57+03:00

The article is devoted to the study of the character of Andrii in Semen Hulak-Artemovsky’s opera «Zaporozhets Beyond the Danube» from the perspectives of musical dramaturgy and performance, focusing on the aria-prayer “Lord of Heaven and Earth!”. The study concentrates on the artistic embodiment of this character as the bearer of the heroic and patriotic idea of the work and on clarifying his role in the overall dramaturgy of the opera. It is established that the character of Andrii performs an important ideological and compositional function, elevating the plot development from the plane of a domestic comic genre to the level of a national and patriotic interpretation of the historical fate of the Ukrainian Cossacks. The article demonstrates that the hero embodies the ideal of a young Cossack whose character organically combines personal love with deep devotion to the homeland, which endows the image with a generalized symbolic meaning. The intonational as well as modal-harmonic features of Andrii’s vocal part are analyzed, revealing their connection with the traditions of Ukrainian song-romance lyricism, particularly the broad cantilena melodic style, the smooth wave-like development of the melodic line, and expressive modal shifts that create subtle tonal contrasts. The transformation of musical expressive means in shaping the emotional and psychological portrait of the hero is traced through the gradual dynamic development of the aria. Particular attention is paid to the dramaturgical significance of the choral episodes, which expand the individual expression of the character into a collective musical statement. The performance aspects of Andrii’s vocal part are also outlined, emphasizing the necessity of cantilena vocal production, precise intonation, and a profound understanding of the artistic and dramatic content. It is concluded that the image of Andrii endows the opera with an elevated national and patriotic resonance and emerges as a symbol of the youthful spiritual strength of the Ukrainian people.

THE STUDY OF THE CREATIVE WORK OF JOHANN SEBASTIAN BACH IN THE WRITINGS OF CHRISTOPH WOLFF IN THE CONTEXT OF THE DEVELOPMENT OF BACH SCHOLARSHIP

2026-05-31T12:13:35+03:00

The article analyzes the creative legacy of Johann Sebastian Bach as interpreted in the works of one of the leading contemporary Bach scholars, Christoph Wolff, and examines his scholarly contribution within the context of the development of Bach studies as an independent field of musicology. The relevance of the research is обусловлена the need for a critical reassessment of established biographical and stylistic models formed in the nineteenth and twentieth centuries, as well as by the growing importance of interdisciplinary and source-based approaches to the study of the composer’s heritage. The article traces the key stages in the formation of the Bach scholarly tradition – from the earliest academic biographical studies by Johann Nikolaus Forkel and the fundamental synthetic work of Philipp Spitta, to the conceptual interpretations of Albert Schweitzer and the rhetorical-aesthetic studies of André Pirro. Particular attention is given to research focused on the compositional process, source studies, and stylistic influences – especially those related to the Italian tradition–as represented in the works of Kimberly Marshall. The central part of the article is devoted to an analysis of Christoph Wolff’s scholarly methodology. His major publications – Bach: Essays on His Life and Music, The New Bach Reader, and Johann Sebastian Bach: The Learned Musician – are examined as milestones in the development of modern Bach studies. Wolff proposes a comprehensive approach to Bach’s figure, integrating biographical research, source criticism, stylistic analysis, and intellectual-historical perspectives. He critically revises traditional periodizations of the composer’s output, emphasizing the continuity of Bach’s artistic development and the importance of geographical and cultural factors. Special attention is paid to Wolff’s interpretation of Bach as an intellectual and thinker whose musical creativity correlates with the philosophical and scientific ideas of the early modern period, particularly concepts of the cognition of nature and universal principles of art. The comparison between Bach and Isaac Newton, first advanced by the composer’s contemporaries and conceptually developed by Wolff, underscores the scale of Bach’s intellectual ambitions and the universality of his musical thinking. In conclusion, the article demonstrates that Christoph Wolff’s scholarly legacy is of fundamental importance for shaping the modern image of Johann Sebastian Bach as a multidimensional figure. His research is shown to be highly significant not only for theoretical musicology but also for performance practice and the broader cultural context

SOKYRYNTSI VERTEP AS A PHENOMENON OF UKRAINIAN MUSICAL AND THEATRICAL CULTURE OF THE SECOND HALF OF THE 18TH CENTURY

2026-05-31T12:20:57+03:00

The article is devoted to the study of the Sokyryntsi (Halahan) vertep as a unique monument of Ukrainian musical and theatrical culture of the second half of the eighteenth century. The Sokyryntsi vertep has been preserved in the form of a manuscript containing detailed literary and musical notation, which makes it an important source for the study of the musical, theatrical, and cultural life of Ukraine at that time. The article examines the history of the creation and performance tradition of the Sokyryntsi vertep, associated with the Halahan family and the tradition of Christmas performances by students of the Kyiv-Mohyla Academy; it describes the musical life of Kyiv in the eighteenth century; emphasizes the role of music in the educational system of the Kyiv-Mohyla Academy; analyzes the contribution of the Academy and its students to the formation of the Ukrainian cultural and musical environment of the time; and demonstrates that the structural principles of the vertep performance have parallels with the traditions of school drama. As a result of the study, the Sokyryntsi vertep is presented as a multi-layered synthetic phenomenon that combines the traditions of sacred music, urban kant singing, folk song and dance culture, and school theatre. The contextual connections traced in the article allow this work to be considered as an important testimony to the formation of the Ukrainian musical and theatrical tradition and as a valuable source for reconstructing the cultural life of Kyiv and Left-Bank Ukraine in the second half of the eighteenth century

GENRE REORIENTATION OF UKRAINIAN COMPOSERS' CREATIVITY IN CONDITIONS OF FULL-SCALE WAR

2026-05-31T12:28:35+03:00

The article examines the process of genre reorientation in Ukrainian composers' creativity, which took place after the beginning of the full-scale invasion of the Russian Federation into Ukraine on February 24, 2022. The purpose of the work is to identify and systematize genre shifts in academic composer practice of the war period, analyze new genre models and determine their functional characteristics based on the work of specific authors. The works of O. Bezborodko, V. Polyova, S. Lunyov, R. Hryhoriv, Z. Almasha, Vs. Sirenko, M. Kolomiets and other composers whose work testifies to the formation of new genre strategies in response to the existential challenge of war are considered. The research methodology combines genre-typological, functional and contextual methods of analyzing musical works, which allows us to consider genre dynamics in relation to socio-cultural conditions. It has been established that the full-scale war caused a significant restructuring of the genre hierarchy in Ukrainian academic music. Memorial, commemorative and documentary genres gained priority, replacing abstract instrumental forms. The four genre vectors identified (memorial-requiem, heroic-symphonic, electroacoustic-documentary and performativeritual) reflect different aspects of social need: from honoring the dead and ritualizing grief to heroic self-affirmation, documentary testimony and symbolic resistance. Each of these vectors demonstrates specific genre strategies that combine traditional academic forms with new means of expression caused by extreme conditions. Genre reorientation testifies to the transformation of the function of academic music from aesthetic autonomy to active participation in the processes of forming collective memory and cultural resistance

SONGS OF THE UKRAINIAN SICH RIFLEMEN: GENESIS AND CULTURAL-ARTISTIC FOUNDATIONS OF FORMATION

2026-05-31T12:41:12+03:00

The aim of the article is to provide a comprehensive study of the songs of the Ukrainian Sich Riflemen as an integral phenomenon of the national musical culture of the early twentieth century, in particular to clarify their genesis and to determine the cultural and artistic foundations of their formation based on the analysis of folk, sacred, regional, and professional musical traditions. The article summarizes the results of a study of the song творчість of the Ukrainian Sich Riflemen as a holistic phenomenon of the national musical culture of the early twentieth century and substantiates its genesis and cultural–artistic foundations of formation. Based on a comprehensive analysis, it has been established that the Riflemen’s song tradition emerged as a result of an organic synthesis of several interrelated traditions, among which the decisive role is played by Cossack musical folklore, the kobzar–lirnyk tradition, Ukrainian church music–particularly the kant practice–regional folklore of Western Ukrainian lands, as well as urban song culture and the influence of the Western European musical environment. It is demonstrated that continuity with the Cossack tradition is manifested in thematic orientation, heroic and patriotic content, and the typology of the warrior-defender image, whereas the kobzar–lirnyk tradition determined the formation of narrativity, epic character, and historical memory within the Riflemen’s melos. It has been established that the influence of church music contributed to the formation of an elevated, often requiem-like character of the songs, while the kant basis ensured their accessibility and the possibility of wide collective performance within the military environment. It is generalized that the urban musical culture of the late nineteenth and early twentieth centuries, particularly the romance genre, significantly influenced the intonational expressiveness, lyricism, and harmonic organization of Riflemen’s songs, whereas Western European musical influences contributed to the renewal of their rhythmic and formal characteristics. Particular emphasis is placed on the role of the professional musical milieu, since a considerable number of authors of Riflemen’s songs possessed sufficient musical training, which ensured the high artistic quality of the works, their structural completeness, and their capacity for further functioning in academic and concert practice. As a result of the study, it is substantiated that the Riflemen’s song tradition performs not only aesthetic but also important communicative, consolidating, and identity-forming functions, acting as a means of preserving historical memory and transmitting national values. It is concluded that the songs of the Ukrainian Sich Riflemen constitute a significant cultural and artistic phenomenon that demonstrates the continuity of Ukrainian musical tradition, its ability to adapt under conditions of historical transformations, and plays a substantial role in shaping national identity and historical continuity.

THE EMOTIONAL FOUNDATIONS OF MUSICAL STYLE

2026-05-31T12:48:43+03:00

The article examines the emotional nature of the category of style as one of the fundamental phenomena of musical culture. The study aims to clarify how culturally conditioned models of emotional experience influence the formation of stylistic systems in music and how they are related to the artistic forms of musical thinking in different historical periods.The scientific novelty of the research lies in interpreting musical style through the category of historically shaped emotional experience. From this perspective, style appears as a specific mode of artistic organization of feelings embodied in musical intonation, dramaturgy, and principles of form-building. Changes in stylistic paradigms throughout music history are interpreted as reflections of transformations in culturally determined modes of experiencing emotions that shape the artistic thinking of a particular era.The Baroque theory of affects formed an extensive rhetorical system of musical expression in which emotions were structured into specific types and embodied in stable intonational formulas. The aesthetics of Classicism was oriented toward achieving emotional balance and order, which found reflection in proportionate forms and a transparent musical language. In Romanticism, the significance of individual emotional experience increased, leading to intensified expressivity, an expansion of the intonational vocabulary, and a growing emphasis on subjectivity. ХХ-century music reveals the complex and multidimensional psychological structure of modern emotional experience, resulting in the emergence of new principles of sound organization and a diversity of stylistic strategies. In the culture of the ХХІ-century, increasing attention is devoted to the inner world of the individual and to mechanisms of emotional sensitivity. This tendency is connected with the active development of interdisciplinary studies of emotions, the dissemination of the concept of emotional intelligence, and a growing interest in the psychological dimensions of artistic creativity. The proposed approach makes it possible to reinterpret the nature of stylistic change in the history of music. Such a perspective expands the methodological possibilities of historical musicology, deepens the understanding of the interaction between the emotional sphere of culture and the forms of musical art, and opens new directions for further scholarly research

PIANO INTONATION AS A MECHANISM OF ARTISTIC COMMUNICATION IN THE PERFORMANCE PRACTICE OF PIANISTS

2026-05-31T12:57:10+03:00

The article provides a theoretical interpretation of piano intonation as a mechanism of artistic communication in the performance practice of pianists. The relevance of the research is determined by the need to reconsider intonation not only as a sound-technical phenomenon but also as an integrative category that unites the composer’s intention, the performer’s interpretation, and the listener’s perception within a single semantic field. Within the triad “composer – performer – listener”, piano intonation is considered as a process of transition from the notated musical text to its sonic actualization, in which the author’s intention is materialized and an artistic dialogue is formed. It is substantiated that intonation in the pianist’s performing activity acquires the character of active auditory thinking, involves emotional and semantic attunement to the composer’s logic of the work, and ensures the organization of communicative interaction with the listener. Particular attention is paid to empathy as an internal mechanism of artistic interaction that provides a deep connection between the subjects of the musical process. The role of the acoustic piano as a material carrier of intonation capable of creating conditions for experiencing sound as a continuation of the performer’s inner “Self” is analyzed. It is emphasized that the sensory and empirical experience of sound functions as a practice of personal meaning-making, in which bodily, emotional, and cultural dimensions of musical existence are combined. The influence of contemporary technological transformations on the system of musical communication is highlighted, and it is noted that technical means alone do not guarantee artistic novelty without an aesthetically meaningful event. Piano intonation is defined as a central factor in the formation of pianists’ interpretative culture and an important condition for the development of their performing mastery in the contemporary artistic environment

THE NATIONAL MELODIC IDIOM IN VASYL BARVINSKY’S PIANO WORKS

2026-05-31T13:03:54+03:00

Vasyl Barvinsky’s work stands as one of the most striking examples of Ukrainian national-operatic music from the first half of the 20th century. This article is devoted to a comprehensive study of the composer’s piano legacy through the prism of Ukrainian folk melody. The relevance of this work stems from the need for a deeper understanding of the mechanisms of creative reinterpretation of folklore in V. Barvinsky’s professional compositional practice, as well as the necessity of popularising lesser-known aspects of Ukrainian piano literature. The article examines how the Ukrainian folk song forms the intonational basis of V. Barvinsky’s piano works. An analysis is conducted of various methods of compositional treatment of folk material – from direct quotation to the profound transformation of folk intonations, in which the folk source becomes an organic part of the composer’s musical language. Particular attention is paid to Western Ukrainian musical dialects, specifically the Lemko dialect. The focus is on the artist’s piano works such as: the cycle ‘Six Miniatures on Ukrainian Folk Themes’, ‘Ukrainian Rhapsody’, ‘Suite on Ukrainian Folk Themes’, ‘Miniatures on Lemko Folk Songs’ (in particular ‘Song Without Words’ and ‘Lullaby’), the collection ‘Ukrainian Folk Songs for Piano’, and arrangements of carols and New Year’s songs. This paper explores the specific features of the incorporation of the Lemko musical dialect into piano texture, using the piece ‘Song Without Words’ as an example. In addition to an artistic and stylistic analysis, the paper highlights the pedagogical orientation of V. Barvinsky’s piano works and their significant role in the national-conscious upbringing of young people. The study demonstrates that the composer’s active engagement with folk sources was not accidental, but constituted an integral part of the pan-Ukrainian cultural revival of the first third of the 20th century, which was characteristic of various art forms. The conclusions emphasise that Vasyl Barvinsky’s piano legacy is a significant contribution to the development of the Ukrainian national school of composition, a striking example of the successful synthesis of folk tradition and European professionalism, and a valuable source for contemporary performance and pedagogical practice.

WORSHIP PRACTICES AND CONCERT ACTIVITIES OF PROTESTANT CHOIRS IN KYIV IN THE LATE 20TH AND EARLY 21ST CENTURIES

2026-05-31T13:09:51+03:00

This article uses the example of Adventist and Baptist communities in Kyiv to describe the distinctive features of worship practices and concert activities of Protestant choirs from the late 20th century to the present day. It identifies the dynamics of the formation of leading Adventist choirs, including the Chamber Choir of the Seventh-day Adventist Church, the Republican Choir of Seventh-day Adventists, the United Choir of Seventh-day Adventists, the Blagovist ensemble, and the Kyiv Church Chamber Choir. The creative path of Baptist groups is examined, in particular the Second Choir of the House of the Gospel Church and the Kyiv United Youth Choir, which became centres for the development of academic vocal and choral traditions in Baptist church practice. The role of conductors V. Koziarevskyi, K. Lysak, K. Yevtushok, O. Kreshchuk, S. Bilokin, and V. Bolgar in the professional growth of choral ensembles is highlighted. It is proven that their professional approaches, based on the principles of academic vocal and choral art, contributed to the improvement of the choirs' performing skills. The conceptual principles of forming a liturgical and concert repertoire which covers both the classical spiritual heritage and the works of contemporary composers, are revealed. The touring activities of the ensembles in Ukraine and abroad are highlighted, and their participation in sacred music festivals is noted. Special attention is paid to the discography of the ensembles, in particular the landmark recording of the Seventh-day Adventist Church choir conducted by V. Koziarevskyi by the Melody company, which gave impetus to the intensification of spiritual and educational activities. The common and distinctive features of the development of Baptist and Adventist choirs are summarised, and their role in representing Protestant musical art in the Ukrainian cultural space of the period under study is substantiated

THE POETICS OF SOUND IN VOCAL-INSTRUMENTAL WORKS BY EUGENIUSZ KNAPIK

2026-05-31T13:16:04+03:00

The article explores the poetics of sound in the vocal-instrumental works of the Polish composer Eugeniusz Knapik within the context of late 20th and early 21st century musical and aesthetic processes. The study focuses on the formation of the composer’s individual style, characterized by the synthesis of post-romantic sound traditions and contemporary compositional techniques. Particular attention is paid to key parameters of sound organization, including timbral dramaturgy, intonational plasticity, harmonic thinking, and the role of sonoristic elements in shaping musical texture. The interaction between vocal and instrumental components is analyzed as an integrated system of artistic expression in which sound functions not only as an acoustic phenomenon but also as a carrier of meaning, emotional intensity, and semantic imagery. Special emphasis is placed on the relationship between word and music, where the poetic text serves as a generative impulse for musical structure, influencing rhythmic organization, intonational logic, and dramaturgical development. The study reveals that the poetics of sound in Knapik’s works is shaped by the interaction of cantilena, timbral differentiation, and sonoristic techniques, which are not opposed to tradition but integrated into it, forming a new quality of musical thinking. It is argued that Knapik’s compositional language demonstrates a tendency toward stylistic synthesis, where harmonic, melodic, and textural elements function as a unified expressive system. The article concludes that the poetics of sound in Knapik’s vocal-instrumental music constitutes a key factor in the formation of his individual style, combining features of late Romanticism, impressionistic colorism, and contemporary musical thinking, while maintaining a focus on expressiveness, emotional depth, and communicative clarity.

BOB BERG’S CREATIVE WORK AND ENSEMBLE PERFORMANCE PRACTICES

2026-05-31T13:28:11+03:00

The article examines the phenomenon of Bob Berg’s creative work – one of the most influential saxophonists of post-fusion and modern jazz of the late twentieth century, whose artistic activity significantly shaped the development of the contemporary saxophone school. The key features of his performing style are outlined, including a dense, concentrated tone, high technical mobility characteristic of the post-Coltrane tradition, as well as specific modal-harmonic structures and expanded rhythmic models rooted in the fusion aesthetics of the 1970s–1980s. Considerable attention is given to the influence of John Coltrane, Joe Henderson, Michael Brecker, and representatives of the hard-bop school on Berg’s stylistic formation; it is emphasized that his early work with Horace Silver provided the foundation for his future style, particularly in terms of articulation clarity, structural phrasing, and reliance on blues-inflected intonation The article also examines Bob Berg’s ensemble activity as one of the decisive factors in his professional development. His collaborations with Steps Ahead, the Mike Brecker band, Chuck Mangione, Cedar Walton Trio, the Dave Weckl Band, as well as with musicians such as Mike Mainieri, Keith Jarrett, Eddie Gómez, and Peter Erskine are analyzed. It is demonstrated that longterm participation in ensembles of various formats – from acoustic post-bop quintets to electric fusion projects – shaped Berg’s capacity for advanced improvisational communication, flexible interaction with the rhythm section, an acute sense of polymetric organization, and dynamic balance between soloistic and collective roles. It is emphasized that his ensemble approach relied on principles of continuous dialogue, reactivity, and shared shaping of musical dramaturgy, distinguishing him from many of his contemporaries. The article further analyzes the composerly and improvisational principles of Berg’s musicianship and traces the evolution of his stylistic language – from a hard-bop foundation to a synthetic post-bop/fusion model. It is underscored that Bob Berg’s work became a significant factor in the modernization of jazz saxophone performance and fostered the emergence of a new generation of musicians oriented toward uniting traditional jazz structures with contemporary harmonic and rhythmic approaches.

LVIV IN THE SYSTEM OF HISTORICAL MUSICAL TRANSFERS

2026-05-31T13:36:24+03:00

LVIV IN THE SYSTEM OF HISTORICAL MUSICAL TRANSFERS

CHAMBER MUSIC AS THE MEANING OF LIFE CREATIVITY (TO THE 80TH ANNIVERSARY OF THE PEOPLE'S ARTIST OF UKRAINE, PROFESSOR ARTHUR MYKYTKY)

2026-05-31T13:41:34+03:00

CHAMBER MUSIC AS THE MEANING OF LIFE CREATIVITY (TO THE 80TH ANNIVERSARY OF THE PEOPLE'S ARTIST OF UKRAINE, PROFESSOR ARTHUR MYKYTKY)