Auswahl der wissenschaftlichen Literatur zum Thema „High School of Music and Art (New York, N.Y.)“

Joseph Schillinger (1895–1943), the eminent Russian-American music theorist, teacher and composer, emigrated to the United States in 1928, after having served in high positions in some of the major music institutions in the Ukraine, Khar'kov, Moscow, and Leningrad. He settled in New York, where he taught music, mathematics, art history, and his theory of rhythmic design at the New School for Social Research, New York University, and the Teachers College of Columbia University. He formulated a philosophical and practical system of music theory based on mathematics, and became a celebrated teacher of prominent composers and radio musicians. Schillinger's writings include: Kaleidophone: New Resources of Melody and Harmony (New York: M. Witmark, 1940; New York: Charles Colin, 1976); Schillinger System of Musical Composition, 2 vols. (New York: Carl Fischer, 1946; New York: Da Capo Press, 1977); Mathematical Basis of the Arts (New York: Philosophical Library, 1948; New York: Da Capo Press, 1976); Encyclopedia of Rhythms (New York: Charles Colin, 1966; New York: Da Capo Press, 1976).

In recent years, STEAM (Science, Technology, Engineering, Art, and Mathematics) has received wide attention. STEAM complements early childhood learning needs in honing 2nd century skills. This study aims to introduce a loose section in early childhood learning to pre-service teachers and then to explore their perceptions of how to use loose parts in supporting STEAM. The study design uses qualitative phenomenological methods. FGDs (Focus Group Discussions) are used as data collection instruments. The findings point to two main themes that emerged from the discussion: a loose section that supports freedom of creation and problem solving. Freedom clearly supports science, mathematics and arts education while problem solving significantly supports engineering and technology education. Keywords: Early Childhood Educators, Loose-part, STEAM References: Allen, A. (2016). Don’t Fear STEM: You Already Teach It! Exchange, (231), 56–59. Ansberry, B. K., & Morgan, E. (2019). Seven Myths of STEM. 56(6), 64–67. Bagiati, A., & Evangelou, D. (2015). Engineering curriculum in the preschool classroom: the teacher’s experience. European Early Childhood Education Research Journal, 23(1), 112–128. https://doi.org/10.1080/1350293X.2014.991099 Becker, K., & Park, K. (2011). Effects of integrative approaches among science , technology , engineering , and mathematics ( STEM ) subjects on students ’ learning : A preliminary meta-analysis. 12(5), 23–38. Berk, L. E. (2009). Child Development (8th ed.). Boston: Pearson Education. Can, B., Yildiz-Demirtas, V., & Altun, E. (2017). The Effect of Project-based Science Education Programme on Scientific Process Skills and Conception of Kindergargen Students. 16(3), 395–413. Casey, T., Robertson, J., Abel, J., Cairns, M., Caldwell, L., Campbell, K., … Robertson, T. (2016). Loose Parts Play. Edinburgh. Cheung, R. H. P. (2017). Teacher-directed versus child-centred : the challenge of promoting creativity in Chinese preschool classrooms. Pedagogy, Culture & Society, 1366(January), 1–14. https://doi.org/10.1080/14681366.2016.1217253 Clements, D. H., & Sarama, J. (2016). Math, Science, and Technology in the Early Grades. The Future of Children, 26(2), 75–94. Cloward Drown, K. (2014). Dramatic lay affordances of natural and manufactured outdoor settings for preschoolaged children. Dejarnette, N. K. (2018). Early Childhood Steam: Reflections From a Year of Steam Initiatives Implemented in a High-Needs Primary School. Education, 139(2), 96–112. DiGironimo, N. (2011). What is technology? Investigating student conceptions about the nature of technology. International Journal of Science Education, 33(10), 1337–1352. https://doi.org/10.1080/09500693.2010.495400 Dugger, W. E., & Naik, N. (2001). Clarifying Misconceptions between Technology Education and Educational Technology. The Technology Teacher, 61(1), 31–35. Eeuwijk, P. Van, & Zuzana, A. (2017). How to Conduct a Focus Group Discussion ( FGD ) Methodological Manual. Flannigan, C., & Dietze, B. (2018). Children, Outdoor Play, and Loose Parts. Journal of Childhood Studies, 42(4), 53–60. https://doi.org/10.18357/jcs.v42i4.18103 Fleer, M. (1998). The Preparation of Australian Teachers in Technology Education : Developing The Preparation of Australian Teachers in Technology Education : Developing Professionals Not Technicians. Asia-Pacific Journal of Teacher Education & Development, 1(2), 25–31. Freitas, H., Oliveira, M., Jenkins, M., & Popjoy, O. (1998). The focus group, a qualitative research method: Reviewing the theory, and providing guidelines to its planning. In ISRC, Merrick School of Business, University of Baltimore (MD, EUA)(Vol. 1). Gomes, J., & Fleer, M. (2019). The Development of a Scientific Motive : How Preschool Science and Home Play Reciprocally Contribute to Science Learning. Research in Science Education, 49(2), 613–634. https://doi.org/10.1007/s11165-017-9631-5 Goris, T., & Dyrenfurth, M. (n.d.). Students ’ Misconceptions in Science , Technology , and Engineering . Gull, C., Bogunovich, J., Goldstein, S. L., & Rosengarten, T. (2019). Definitions of Loose Parts in Early Childhood Outdoor Classrooms: A Scoping Review. The International Journal of Early Childhood Environmental Education, 6(3), 37. Hui, A. N. N., He, M. W. J., & Ye, S. S. (2015). Arts education and creativity enhancement in young children in Hong Kong. Educational Psychology, 35(3), 315–327. https://doi.org/10.1080/01443410.2013.875518 Jarvis, T., & Rennie, L. J. (1996). Perceptions about Technology Held by Primary Teachers in England. Research in Science & Technological Education, 14(1), 43–54. https://doi.org/10.1080/0263514960140104 Jeffers, O. (2004). How to Catch a Star. New York: Philomel Books. Kiewra, C., & Veselack, E. (2016). Playing with nature: Supporting preschoolers’ creativity in natural outdoor classrooms. International Journal of Early Childhood Environmental Education, 4(1), 70–95. Kuh, L., Ponte, I., & Chau, C. (2013). The impact of a natural playscape installation on young children’s play behaviors. Children, Youth and Environments, 23(2), 49–77. Lachapelle, C. P., Cunningham, C. M., & Oh, Y. (2019). What is technology? Development and evaluation of a simple instrument for measuring children’s conceptions of technology. International Journal of Science Education, 41(2), 188–209. https://doi.org/10.1080/09500693.2018.1545101 Liamputtong. (2010). Focus Group Methodology : Introduction and History. In Focus Group MethodoloGy (pp. 1–14). Liao, C. (2016). From Interdisciplinary to Transdisciplinary: An Arts-Integrated Approach to STEAM Education. 69(6), 44–49. https://doi.org/10.1080/00043125.2016.1224873 Lindeman, K. W., & Anderson, E. M. (2015). Using Blocks to Develop 21st Century Skills. Young Children, 70(1), 36–43. Maxwell, L., Mitchell, M., and Evans, G. (2008). Effects of play equipment and loose parts on preschool children’s outdoor play behavior: An observational study and design intervention. Children, Youth and Environments, 18(2), 36–63. McClure, E., Guernsey, L., Clements, D., Bales, S., Nichols, J., Kendall-Taylor, N., & Levine, M. (2017). How to Integrate STEM Into Early Childhood Education. Science and Children, 055(02), 8–11. https://doi.org/10.2505/4/sc17_055_02_8 McClure, M., Tarr, P., Thompson, C. M., & Eckhoff, A. (2017). Defining quality in visual art education for young children: Building on the position statement of the early childhood art educators. Arts Education Policy Review, 118(3), 154–163. https://doi.org/10.1080/10632913.2016.1245167 Mishra, L. (2016). Focus Group Discussion in Qualitative Research. TechnoLearn: An International Journal of Educational Technology, 6(1), 1. https://doi.org/10.5958/2249-5223.2016.00001.2 Monhardt, L., & Monhardt, R. (2006). Creating a context for the learning of science process skills through picture books. Early Childhood Education Journal, 34(1), 67–71. https://doi.org/10.1007/s10643-006-0108-9 Monsalvatge, L., Long, K., & DiBello, L. (2013). Turning our world of learning inside out! Dimensions of Early Childhood, 41(3), 23–30. Moomaw, S. (2012). STEM begins in the early years. School Science & Mathematics, 112(2), 57–58. Moomaw, S. (2016). Move Back the Clock, Educators: STEM Begins at Birth. School Science & Mathematics, 116(5), 237–238. Moomaw, S., & Davis, J. A. (2010). STEM Comes to Preschool. Young Cihildren, 12–18(September), 12–18. Munawar, M., Roshayanti, F., & Sugiyanti. (2019). Implementation of STEAM (Science, Technology, Engineering, Art, Mathematics)-Based Early Childhood Education Learning in Semarang City. Jurnal CERIA, 2(5), 276–285. National Research Council. (1996). National Science Education Standards. Washington, DC: National Academy of Sciences. Nicholson, S. (1972). The Theory of Loose Parts: An important principle for design methodology. Studies in Design Education Craft & Technology, 4(2), 5–12. O.Nyumba, T., Wilson, K., Derrick, C. J., & Mukherjee, N. (2018). The use of focus group discussion methodology: Insights from two decades of application in conservation. Methods in Ecology and Evolution, 9(1), 20–32. https://doi.org/10.1111/2041-210X.12860 Padilla-Diaz, M. (2015). Phenomenology in Educational Qualitative Research : Philosophy as Science or Philosophical Science ? International Journal of Educational Excellence, 1(2), 101–110. Padilla, M. J. (1990). The Science Process Skills. Research Matters - to the Science Teacher, 1(March), 1–3. Park, D. Y., Park, M. H., & Bates, A. B. (2018). Exploring Young Children’s Understanding About the Concept of Volume Through Engineering Design in a STEM Activity: A Case Study. International Journal of Science and Mathematics Education, 16(2), 275–294. https://doi.org/10.1007/s10763-016-9776-0 Rahardjo, M. M. (2019). Implementasi Pendekatan Saintifik Sebagai Pembentuk Keterampilan Proses Sains Anak Usia Dini. Scholaria: Jurnal Pendidikan Dan Kebudayaan, 9(2), 148–159. https://doi.org/10.24246/j.js.2019.v9.i2.p148-159 Robison, T. (2016). Male Elementary General Music Teachers : A Phenomenological Study. Journal of Music Teacher Education, 26(2), 77–89. https://doi.org/10.1177/1057083715622019 Rocha Fernandes, G. W., Rodrigues, A. M., & Ferreira, C. A. (2018). Conceptions of the Nature of Science and Technology: a Study with Children and Youths in a Non-Formal Science and Technology Education Setting. Research in Science Education, 48(5), 1071–1106. https://doi.org/10.1007/s11165-016-9599-6 Sawyer, R. K. (2006). Educating for innovation. 1(2006), 41–48. https://doi.org/10.1016/j.tsc.2005.08.001 Sharapan, H. (2012). ERIC - From STEM to STEAM: How Early Childhood Educators Can Apply Fred Rogers’ Approach, Young Children, 2012-Jan. Young Children, 67(1), 36–40. Siantayani, Y. (2018). STEAM: Science-Technology-Engineering-Art-Mathematics. Semarang: SINAU Teachers Development Center. Sikder, S., & Fleer, M. (2015). Small Science : Infants and Toddlers Experiencing Science in Everyday Family Life. Research in Science Education, 45(3), 445–464. https://doi.org/10.1007/s11165-014-9431-0 Smith-gilman, S. (2018). The Arts, Loose Parts and Conversations. Journal of the Canadian Association for Curriculum Studies, 16(1), 90–103. Sohn, B. K., Thomas, S. P., Greenberg, K. H., & Pollio, H. R. (2017). Hearing the Voices of Students and Teachers : A Phenomenological Approach to Educational Research. Qualitative Research in Education, 6(2), 121–148. https://doi.org/10.17583/qre.2017.2374 Strong-wilson, T., & Ellis, J. (2002). Children and Place : Reggio Emilia’s Environment as Third Teacher. Theory into Practice, 46(1), 40–47. Sutton, M. J. (2011). In the hand and mind: The intersection of loose parts and imagination in evocative settings for young children. Children, Youth and Environments, 21(2), 408–424. Tippett, C. D., & Milford, T. M. (2017). Findings from a Pre-kindergarten Classroom: Making the Case for STEM in Early Childhood Education. International Journal of Science and Mathematics Education, 15, 67–86. https://doi.org/10.1007/s10763-017-9812-8 Tippett, C., & Milford, T. (2017). STEM Resources and Materials for Engaging Learning Experiences. International Journal of Science & Mathematics Education, 15(March), 67–86. https://doi.org/10.1007/s10763-017-9812-8 Veselack, E., Miller, D., & Cain-Chang, L. (2015). Raindrops on noses and toes in the dirt: infants and toddlers in the outdoor classroom. Dimensions Educational Research Foundation. Yuksel-Arslan, P., Yildirim, S., & Robin, B. R. (2016). A phenomenological study : teachers ’ experiences of using digital storytelling in early childhood education. Educational Studies, 42(5), 427–445. https://doi.org/10.1080/03055698.2016.1195717

Background. The present article is devoted to the consideration of the critical activity of R. Genika, one of the most prominent creative personalities in the musical life of Kharkov during the period of the turn of the 19th and 20th centuries, the founder of the Kharkov professional music school. The present study is based on the material of the correspondence between R. Genika and his long-term mentor N. Findeisen – the chief editor of the Russian Musical Newspaper, the publisher of historical essays. The system of R. Genika’s critical views, his assessment of the intonation situation of the musical era represented by him have been analyzed; we have stated his critical position toward the creative work of composers of the past and present. Formulation of the problem. In the musical life of Kharkov, the period of the turn of the 19th and 20th centuries, Rostislav Vladimirovich Genika (1859–1942?) was one of the brightest creative personalities. His activities were distinguished by the scale and versatility, and the creative achievements of this outstanding musician in the spheres of this kind of activities are an invaluable contribution to the national musical art. Through the prism of the achievements of R. Genika as one of the founders of the Kharkov professional music school, not only the panorama of the concert life of Kharkov during the considered period is revealed, but also the weighty and relevant scientifi c, organizational, pedagogical, artistic and creative directions regarding the complex of problems associated with history and perspectives of the musical art of Kharkov as one of the leading centers of musical life, the fi rst capital of Ukraine. The object of the research. The creative heritage of R. Genika, a universally gifted person is covered in the existing publications mainly in the information and source fi eld. R. Genika’s research and musical-publicistic activities were not fully covered. Only recently, the author of the present article has got an access to the archived materials which made it possible to conduct a comprehensive analysis of the role and importance of the personality of this outstanding Kharkov musician in the context of the musical art of the region and Ukraine as a whole. All of this combined to form the subject of the comprehensive review and the relevance of this article. The material of the study was the archival letters of R. Genika to N. Findeisen. The goal is to point out the position of R. Genika in the selection of the material for his research by highlighting and analyzing some letters from this correspondence. Methodology. The creative work of any music critic and reviewer, a music writer who is interested in the history of music, in particular, pianism and piano art, is assessed primarily by the material to which he/she refers. Here the source of conclusions about the direction of the search of R. Genika in all these areas can be his correspondence with a prominent fi gure of the Imperial Russian Musical Society (IRMS), one of the leading musical writers and critics of Russia of the late 19th – early 20th centuries, Nikolai Fyodorovich Findeisen (1868–1928). The correspondence with N. Findeisen testifi es to the process of R. Genika’s work on a number of his key scientifi c researches. The author of this study was able to find in the archives these short letters, where the requests of the Kharkov musician to this venerable musicologist and critic about the literature and music notes he needed for his work could be found. And the very list of requests made by R. Genika makes it possible to systematize the range of his creative interests. For example, in one of the letters R. Genika asks N. Findeisen to send him books about F. Liszt. The detailed article about F. Liszt was included into the second volume of the essays on “The History of Music” – the main capital work on which R. Genika had been working for almost all his life. The focus of this study is rather popularizing, addressed to various categories of listeners, primarily, to educated “good listeners” who want to get acquainted closer with the styles and circumstances of the life and creative work of the leading representatives of the world music art. In the fi eld of musicological studies R. Genika was, above all, a historian. This profi le of his research activities was the closest to the tendency that can be defi ned as a popularization or educational one. In his historical research he had clear preferences. This is evidenced by a number of his rather subjective statements about contemporary composers, to whom he preferred the classics of the older generation. R. Genika, as a historian, was well aware of the retrospective necessary for historical musicological studies, and therefore avoided writing in an estimate about authors contemporary to him. He, as a high-class musician, does not consider it possible to express his personal subjective judgments in his historical concept, and so he omits the section on “modern music” in his historical essays. Results. In the two-volume essays on “The History of Music” there are other thoughts that reveal the course of the scientist’s work on various parts of his book. Extremely interesting, besides the already mentioned above R. Genika’s attitude to the “contemporaries”, is his steady interest in the tradition, which he himself called the “Romanesque”. He treated his national school with a natural reverence, considering it to be underestimated in foreign, fi rst of all, German “histories of music”. Such a position is extremely indicative of his work as a music historian. It is the “national”, original, bright and unique that attracts his attention in the styles of the national schools of Europe of that time – the Scandinavian, the Czech, the Polish and, especially great, in his opinion, the Russian. He ends his essays on “The History of Music” (the main text) with the chapter on P. Tchaikovsky, and the modern authors of other schools are covered in review supplement articles. The question of national schools for that period was quite open and controversial even within the framework of generally accepted classifi cations. At that time, the schools of the classical type were considered key, and “nationalist teachings” (“national schools”) were considered “supplementary”, secondary and insignifi cant in the general processes of the world musical history. Here there is a thought, indicative of the very process of the new periodization of the essays on “The History of Music”, which, according to R. Genika, should have differed from the existing German samples. Conclusion. R. Genika’s letters to N. Findeisen make it possible to follow the course of the process of writing the capital essays on “The History of Music”. The very fact that the Kharkov musicologist turned to the global problems of the world music history testifi es to the importance of the creative fi gure of R. Genika in the context of musical and historical research of the last decade of the 19th century – the fi rst two decades of the 20th century. R. Genika was among the fi rst domestic music historians to create his own concept of periodization and artistic evaluation of the most important phenomena of the European musical history, which is the proof of the encyclopedic and universal nature of his many-sided musician talent. These qualities manifest themselves in all directions and the results of his activities, prompting the modern musicologistresearcher to systematize R. Genika’s critical heritage in a special way.

Formulation of the problem. The article contains the analysis of the problem of the domra performing development under conditions of strengthening the culture-creating role of folk instrumental art in the late XX – early XXI centuries. The analysis of historical and pedagogical sources ensured the authenticity of the author’s determining the prerequisites for the development of the domra art in the time studied. Among them there are: the deep historical folk and academic traditions of the domra playing, popularity of the amateur and professional domra performing and composer creativity, development of the process of teaching the domra, scientific research in the field of art history, pedagogy and methodology, and the like. It was established that the development of domra performing in the context of the general process of forming Ukrainian organology as an independent scientific and artistic field in the late XIX – early XX centuries was greatly contributed by the scientific and practical proceedings of scholars, such as the art historians, educators and artists P. Demutsky, K. Kvitka, M. Lysenko, S. Liudkevych, H. Khotkevych and others, who substantially studied the properties of various national musical instruments (domra, flute, trembita, kobza-bandura, lira, violin, cymbals, bassolia, tambourine, buhai, drymba, horseshoe, derkach and others). At the same time, there is a lack of elaboration of the problem of the development of domra art in Ukraine both in terms of studying the theory and methodology of modern folk instrumental performing, as well as in historical and pedagogical terms. In particular, the development of questions of the development of domra performing in Ukraine at the turn of the XX–XXI centuries remains not completely exhausted. Proceeding from this, the purpose of the article is to analyze the prerequisites and factors of the formation of domra performing in Ukraine in the context of the dynamics of the national folk musical and instrumental culture in the late XX and early XXI centuries. The appliance of problem-chronological, comparative historical and retrospective methods allowed the author to scientifically substantiate the facts of the national domra performing development in the late XX – early XXI centuries. The study’s results. An important factor in the development of domra performing art at the crossroads of the centuries was the rethinking of the existing and the creation of a new repertoire policy of performing activities. Traditionally, the repertoire basis of domra performing art was drawn from two key sources: the folk repertoire, which developed depending on the historical conditions specific to the folk instrumental genre, and from academic works that inherited the traditions of European and native cultures of the XX century. It was discovered that during the period under study, the development of domra’s performing was facilitated by the stylistic and substantial enrichment of the repertoire for solo and ensemble, the search for new timbre-articulation connections, new ensemble heterophony – co-creation of composers and performers-domrists, who provided the appearance of new original content, form, performing technique of composer discoveries, so that at the turn of the XX – XXI centuries appeared a significant number of modern compositions for domra. In the article it is noted that in the period under study, the musical and performing arts to a certain extent found independent status as a special field of identifying the musician’s artistic and creative abilities in terms of the original interpretation of musical works and masterly performance on the instrument. The development of the domra art was facilitated by the improvement of the process of preparing performers, the publication of teaching and methodic aids built on the fundamental musical and theoretical basis, the appearance of the constellation of new world-famous talented performers on this instrument. The level of professional training of performers on folk instruments had become so high that it allowed not only to widely adapt classical works created for other musical instruments, but also to successfully write and perform new original domra compositions. At that time, in Ukraine, original instrumental schools of folk-instrumental art were preserving and continuing to form, known both, locally and internationally, including the Kharkiv school (М. Lysenko, F. Kоrоvai, B. Mikhieiev, Ya. Danilyuk, N. Kostenko, I. Kononova and others), Donetsk school (V. Ivko, S. Bilousova, T. Lytvynets, T. Setti, I. Maksymenko and others), Kyiv school (S. Bilokoniev, V. Bilous, L. Matvyichuk and others), Odesa school (V. Kyrychenko, S. Murza, A. Oleinyk, D. Orlova, I. Formaniuk and others) and Dnipro school (N. Bashmakova, V. Kikas and others). Each school, while retaining its originality in approaching the repertory basis selection, the expansion of performing techniques, the development of teaching domra performing methods, was marked by significant achievements in the development of domra performance art in Ukraine in the period under study. A significant factor in the rise of the domra performing art was conduction of a wide concert and festival popularization activity aimed at promoting the national Ukrainian art in Ukraine and abroad. Analysis of concert-competitive programs, announcements, booklets, informational messages in Internet sources confirms the conduction in Ukraine at the turn of the XX – XXI centuries of a significant number of competitions of national and international level, where Ukrainian domrists demonstrated high skills in the nominations “Domra” and “Ensemble Performance”. Such as the International Competition of Performers on Ukrainian Folk Instruments named after Hnat Khotkevych, the International Folk Instruments Performers Competition “Art-Dominanta”, the Nationwide Festival-Competition of Performers on Folk Musical Instruments “Provesin”, the Nationwide Open Festival-Competition of Performing Arts and Play on folk instruments “Barvy Poltavy” (Poltava Colors), the annual Forum of performers on folk instruments within the International Festival of Musical Art “Music Without Borders” and others. Conclusion. Identified trends are a guarantee of further academicization of folk instrumental art (publication of teaching and teaching aids and methodical literature, development of research work, enrichment of the system of contests of performers, etc.), as well as the spread of the concert and festival movement aimed at promoting national Ukrainian art, search of its new identity and independence, where the domra music has its rightful place.

Background. Researchers have shown a high interest in creative work of great national cultural figures who lived in the 20th century. Nevertheless, it remains little-known to music scholars, musicians and in the cultural-art space in general. Thus, the topic of the study is relevant. Nestor Nyzhankivsky (1893–1940) was a composer, pianist and musical critic. His original creativity had a great impact on the Ukrainian musical culture (specifically on Halychyna region). Majority of N. Nyzhankivsky’s manuscripts were lost during his emigration. Moreover, during the World War II his manuscript archive was completely destroyed. Original piano works of N. Nyzhankivsky still remain little known in music science, performing practice and cultural and artistic space. The objective is to determine distinctive features of N. Nyzhankivsky’s composer thinking based on the study of the Small Suite «Letters to Her» for piano as an example of a suite genre in the Ukrainian musical culture in the 1920s. The methodology of the research is based on the interaction of the specialised scientific approaches. Thus, the genre approach helped to determine typical genre features of the analysed composition. The style approach enabled the author to find stylistic constants in the composer’s piano creativity. Finally, the structuralfunctional one helped to realise the unity of the form- and meaning-creating factors in the musical composition within the system of the composer’s style. Results. The piano suite «Letters to Her» has a special place in the creative work of N. Nyzhankivsky. The work was created in 1928, during his studies at the school at the Prague Academy of Arts in the class of Professor V. Novak. In this cycle, the composer shows himself as a bold experimenter, who finds original sound and stylistic solutions and takes a new approach to the interpretation of the suite genre. N. Nyzhankivsky’s suite continues the traditions of the Romantic cycle of program miniatures. The key images of the work are concentrated in the sphere of Romantic experiences of the lyrical character, which are revealed in the existing author’s program. The unifying factor of independent contrasting parts is a single artistic idea. The small suite «Letters to Her» consists of five movements: «Zmist» («Contents»); «Pershyj lyst. Pro nizhnistj jiji ruk» («The first letter. About the tenderness of Her hands»); «Drughyj lyst. Pro Sylu» («The second letter. About force»); «Tretij lyst. Pro mriji» («The third letter. About dreams»); «Chetvetyj lyst. Pro nasmishku nad samym soboju» («The fourth letter. On mocking oneself»). Each movement appears to be completely self-sufficient, and fully reveals the deep artistic meaning embodied in a particular miniature. Conclusions. On the basis of the carried out research the original composer’s approach to interpretation of a suite genre is expressed. N. Nyzhankivsky’s small suite «Letters to Her» is an example of a Romantic suite with a generalized type of program. The logic of construction of the work corresponds to the established characteristics of the model of the suite genre. The five movements that form the suite alternate, creating tempo and figurative contrasts. The suite genre in the artist’s interpretation combines the features of the suite cycle and the cycle of piano miniatures.

Introduction. In the article the cycle of children’s choruses of S.Rachmaninov is considered, his characteristic features in subjects, figurative disclosure, the special role of lofty spiritualized lyric poetry; for the first time the appearance in the choral works of the composer of the themes “Dies irae”, “katabasis”; the spiritually-aesthetic value of Rachmaninov “Six Choruses” for secular children’s choral singing and performance is revealed. “Six choirs for children’s or women’s voices” op. 15 were written by S. Rachmaninov in 1895, the date of which he indicated in a letter to B. Asafiev on April 13, 1917. By the time the cycle was created, S. Rachmaninov was already the author of a considerable number of works. In the fall of 1894, he was employed by the Mariinsky Women’s School as a teacher of music theory and an accompanist of the choir. Specially for the choir of students, “Six choirs for children’s or women’s voices” were written: 1) “Glory!”, Words by N. Nekrasov; 2) ”Night”, words by V. Ladyzhensky; 3) “Pine”, words by M. Lermontov (from G. Heine); 4) “The waves dozed off”, words by K. Romanov, 5) “Captivity”, words by N. Tsyganov; 6) “Angel”, words by M. Lermontov. The features of S. Rachmaninov’s musical and artistic thinking, which researchers usually note in his romances – the significant role of accompaniment and a simple 3-part form, having their own historical archetype in the baroque three-part aria da capo (Antipov, 2014: 9) – can be found in “Six choirs”. The enormous artistic role of the piano accompaniment, its developed texture and organic unity with the score should be especially paid attention to. The vivid imagery of the cycle owes much to the instrumental part, which the composer not only went far beyond the accompaniment, but often has independent significance too. At first glance, the choral score of the cycle is uncomplicated – mainly with diatonic two-voice. But behind seeming simplicity, inexhaustible performing tasks for the choir and piano part are in favor. The extreme choral plays frame the cycle with themes of deep ethical and spiritual content that had not previously been encountered in children’s choral music. The middle rooms are dominated by bright lyrics, youthfully light sadness, and harmony between the pictures of nature and the states of the human soul reigns. No. 1 “Glory!” – the character of the work conveys pathetic, prayer (appeal to the Almighty for blessing) and lyrical-patriotic feelings. In the 3rd section of the miniatures, the accompaniment fills the music with fanfare intonations, in the last 6 beats, the dynamic tension within the framework of one tonic harmony is steadily increasing, and in the bass of the piano the bell ringing and ceremonial drum beat are imitated, completing the picture of the celebration. In No. 2 “Night”, the author embodies a dreamy-contemplative mood with the help of the choral cantilena. Frettonal ambiguity of the extreme parts (major-minor), functions languidly lasting for several measures, delicate harmonic colors, flexible ligature of figures, masterful techniques of sound-visualization contribute to a special refinement of moods and miniature images and are associated with impressionist music. No. 3 “Pine” – S. Rachmaninov chose M. Lermontov’s translation as the theme of loneliness and dreams of happiness, giving contrast to the musical images of northern Pine and southern Palma. No. 4 “The waves dosed off” – to convey the state of spiritual harmony and dreamy peace S. Rachmaninov found a set of expressive compositional techniques. Here we emphasize the special independence of the piano part, which does not contain a choral theme, but plays an important soundvisual role, enriching the narration of the choir. No. 5 “Captivity” – the image of a gentle bird, imprisoned in a golden cage, is widespread in fairy tales and poetry of the peoples of the world, as well as in choral music. In N. Tsyganov’s verses, the denouement is optimistic – the nightingale is set free. S. Rachmaninov relies intonationally on the Russian peasant cry-lamentation. The melody has a touching colour, the miniature is distinguished by a bright national color. No. 6 “Angel”. The poem tells of the great sacrament of conception in the spiritual world of a new person’s life. The Angel carries this person’s soul from heaven to earth to connect it with the body of the unborn child. In flight, an Angel sings a song about celestial gardens to this yet unincarnated Soul. The composer weaves a fragment of the motive-symbol “Dies irae” into Angel’s theme, entrusting it to a part of the alto and veiling from above the unrecognizabl third major second part of the soprano. The smoothly descending theme of the Soul can be described in this context as “katabasis”. This symbolism gives the miniature a deep philosophical meaning. S. Rachmaninov was the first Russian composer to create an example of concert purpose in The “Six choirs”. He raised to a new level the theme of children’s works, characteristic of the genre of that time. And that is education of a spiritually rich personality. The author revealed the extraordinary rhythmic and intonational richness of musical speech, the mastery of texture, harmony, the sophistication of technical techniques, and the tonal color scheme were rare for children’s choral music of that time. The richness of colors and the layering of the piano part bring it closer to the orchestra. In The “Six choirs for children’s or women’s voices” S. Rachmaninov revealed a new example of children’s choral music for concert purposes, which has high artistic merits, a deep substantive theme, and an aesthetic and educational orientation. The composer first attracted high poetry, revealed a spiritual and moral subtext. The theme of Faith, reflected in the first and last miniatures, “rings” the cycle, like Alpha and Omega, giving special semantics and significance to its figurative content. The essay reflected important artistic principles and writing techniques, characteristic of his subsequent opuses, but new to the children’s genre. Like the First Symphony (1895), created in the same year as the cycle, the “Six choirs” for the first time include the theme “Dies irae” symbolic for S. Rachmaninoff’s art, which further permeates his work up to “Symphonic dances”, as well as the theme “katabasis” revealing the spiritual and philosophical meaning of the work. This cycle was S. Rachmaninov’s only experience in children’s choral music, in which first for the genre he embodied high spiritual and ethical ideas of a romantic artist, his Christian picture of the world, the eternal themes of love for the Fatherland, life and death, good and evil, also actual for modern society and children of the XXI century. Prior to S. Rachmaninov, children’s choral music did not know such a depth of content, mastery of embodiment, aesthetic pleasure. The unsurpassed beauty of “Six choirs for children’s or women’s voices” made them a phenomenon of perfection in musical art for children, which is timeless, of course.

For a child, the school is like a separate “state” in which they are fully educated and influenced by a variety of environments, including aesthetic education. The significance of the environment in which the learner lives, matures, and creates has been found to be enormous. In Lithuania, there is a well-established “package” of environmental requirements for general education schools – educating, safe, functional, ergonomic, aesthetic. This article analyzes the relationship between the aesthetic education environment of the school and pupils’ artistic expression. Is it possible to develop the artistic self-expression of pupils in schools when creating an environment for aesthetic education? And is this a problematic question? The purpose of this article is to reveal the link between the aesthetic education environment of schools and pupils’ artistic expression.The following methods were used in the article: (1) an analysis of educational documents and scientific literature and (2) a review and comparative analysis of the realized projects. The educational document analysis method was used to review and analyze Lithuanian educational documents on school education environments. The analysis of educational documents on the educational environment of schools has led to the conclusion that a great deal of attention is paid to the ergonomic, functional, and aesthetic planning of educational spaces. The aim here is to create high standards for school education. The creativity of students, as well as the contribution of artistic self-expression, are identified as important aspects in creating an aesthetic education environment. The link between the creation and development of such an environment, and the involvement of the educational process participants in the creation of such spaces are emphasized. The creation of an aesthetic education environment in schools is more associated with visual and applied art.In applying the method of scientific literature analysis, this study includes a review of research conducted by Lithuanian and foreign authors about various school education environments, the influence of school education(s) on pupils’ learning, the aesthetic relationship of pupils with school education and the aesthetic education of schools; links between environmental and artistic activity are established. This article discusses the peculiarities and possibilities of modernizing the educational spaces of Lithuanian schools.After the analysis of scientific literature on the educational environment, it was concluded that the topics of the school educational environments were relevant to Lithuanian and foreign scientists. The environmental impact of school education was proven on the basis of a multi-faceted study; the concept of an aesthetic education environment has been revealed, its significance for personality development emphasized. The conclusion is that the aesthetic educational environment of a school can influence the formation of the students’ aesthetic attitudes. The active artistic expression of pupils can be provided by educators with certain conditions for their activities, or pupils can develop joint initiatives contributing to the creation of an aesthetic education environment. After discussing the modernization of the educational spaces of Lithuanian schools, an important link was identified between the creation of educational spaces and pupils’ artistic expression.The analysis of educational documents and scientific literature scientifically substantiated the link between the aesthetic environment of a school and pupils’ artistic expression. Examples of certain “dream school” projects in Lithuania and abroad were analyzed using the sample review method. This article contains an overview of the Lithuanian Primary School of the Veršvų Gymnasium in Kaunas (2018) and the Balsių Progymnasium in Vilnius (2011). Chosen for the review of foreign schools were the “Wish School” in Sao Paulo, Brazil (2016), We Grow and Blue School Preschool and Elementary Schools in New York, USA (2018), Lake Wilderness Primary School, Washington, USA (2017), Heart in Ikast International School and Multifunctional Center in Ikaste, Denmark (2018), Vittra Brotorp, Vittra Telefonplan, Vittra Södermalm School in Brotorp, Stockholm, Sodermalm, Sweden (2011–2012).An overview of architectural examples (analogues) implemented by Lithuania has revealed that Lithuanian architects can perfectly design schools that are modern, technologically equipped, ergonomic, etc. In the reviewed examples (analogies), the learning environment is safe and modern; they promote communality, creativity. The corridor system and the “four-walled” classrooms were retained in the design of Lithuanian schools. Pupils are encouraged to create and to participate in the creation of an aesthetic education environment through visual and applied art. Artistic self-expression is promoted by dancing, musical activities, and the like. Communality and a variety of after-school activities are promoted.An overview of architectural examples (analogues) implemented by foreign countries has revealed the latest architectural trends in global school design practice. It is noted that the design of new school buildings has been important for cities, societies, and education for decades. In many cases, the design process of the schools discussed was developed in conjunction with the needs of the community and adapted to the local architectural context. In the examples of foreign countries discussed, the functional zoning of premises was combined with modern design, educational principles, and the latest technologies. School interiors have been designed with a new concept of education and learning in mind. When designing the school spaces, it was emphasized that students are active subjects and space changers. In some of the examples of the discussed schools, the idea of a “class without borders” has been implemented. Non-formal seating, colorful furniture, and bright-colored walls are accentuated. Classrooms are modern and flexible and easily adaptable in accordance with the educational needs of the pupils. A diversity of activities, communication, and an atmosphere of creativity are promoted. Common spaces are easily adaptable and inspiring. Pupils’ artistic self-expression, curiosity, and the aim to “awaken” creativity are encouraged. Functional zoning allows students to work successfully together and independently. Attention is paid to communality and a diverse spectrum of activities.An overview of implemented Lithuanian and foreign architectural examples (analogues) has revealed the connection between the aesthetic environment of a school and the artistic expression of the pupils: 1) Students are encouraged to create and participate in the creation of an aesthetic education environment through visual and applied art; 2) Music, dance, and self-expression are promoted in school spaces; 3) The community is involved in the school design process.By comparing Lithuanian and foreign (analogous) examples, it may be stated that Lithuanian schools are well-planned and meet high standards. The interior spaces could be more colorful and playful. In the cases of foreign (analogous) countries, internal spaces are more characterized by informal seating places, vibrant and colorful furniture and walls. The corridor system is more boldly eschewed, and the concept of “classes without walls” is implemented.

The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author of a piece of music as well as his/her style, the so-called “stylish performance” (according to L. Gakkel), which employs music expression as the main feature of its semantics from the point of affecting audience. The article observes stages of formation of performing art, which are closely related to the evolution of musical thinking, and distinguishes instruments that were taking the lead at different historical periods. Therefore, all these factors together stipulate scientific originality of the suggested research. It is noted that traditionally the concept of “virtuosity” in performing art, as a rule, reflects only one aspect of artistic process – the technical one which is connected with professional skills of a musician. As if behind the scenes there remains a philosophical and aesthetic background of virtuosity leading to praxeology – the science about forms of human activity. From this perspective, “activity” is linked to “freedom” and makes up a dialectical pair with it. In other words, the freer a performer is, the higher level of his “mastery of doing” (according to T. Cherednichenko) is, and the more widely he understands the category of virtus, which came to Baroque music from the theatrical theory of affects. It was during this time that the “class” of professional virtuoso performers was formed, which makes Baroque “concert style” basically different from the Renaissance one in which the performers – choristers and orchestra members – were “anonymous”. Each performing school – epochal, national, regional, authorial – develops its own performing standards, determined by the peculiarities of musical thinking under different historical or “geographical” conditions. As a result of these processes, paradigmatic attitudes of musical thinking emerge in the form of its social communicative and artistic determinants, generating one or another type of musical culture, including its performing aspect. It is proved that musical performing was most influenced by evolution of semantic ideas which serve as a basis for epochal stylistic systems: 1) in Antiquity there prevailed an “idea of a number” which dealt directly with cosmological harmonia mundi (the leading instruments were plucked string ones – lyre, cithara as well as aulos; 2) in the Middle Ages influenced by the ideas of Antiquity the Christian idea of Divine Universe was prevailing, and performing culture-bearers were anonymous choristers performing Gregorian chants and their first adaptations; 3) Renaissance period with its idea of humanization of art puts a focus on the image of a virtuoso creator that combines the roles of a performer and a composer (the leading instruments here are organ and clavier in combination with voices and bowed string instruments); 4) Baroque period with its cult of theory of affects is notable for the image of a virtuoso performer that combined in-depth knowledge and high-class technique (the range of instrumental timbres was being expanded significantly – up to the usage of most instruments of then-orchestra with the focus on bowed string instruments as well as some brass ones – flute, trumpet, oboe); 5) Classicism which replaced Baroque clearly differentiated composers and performers giving a strong preference to the first ones (there could be observed a variety of performance specializations from the point of instruments: traditional bowed string instruments and a clavier were enriched with both woodwinds and brass winds). In the era of Romanticism, there can be observed a new synthesis of composer’s and performer’s intentions in the creation and representation of musical compositions of various genres and forms, compliant with the Baroque era to some extent. The style of “creative virtuosos” was formed, and it replaced the style of “playing creators” (according to N. Zhaivoronok), which constitutes the main (epochal) division in the formation and evolution of the virtus phenomenon in music: it becomes universal and can reveal itself in three versions – composer’s, performing, and mixed. The latter one includes two styles, distinguished by the emphasis on the components – composer-performer or performer-composer style (according to V. Tkachenko). As for music of the most recent period (XX – the beginning of XXI century) with its stylistic pluralism, it does not feature complicated intertwining of all variants of the phenomenon virtus that needs to be dealt with separately in terms of individual styles – composer’s and performer’s as well as their combination.

Target setting. In the modern musical culture of the Republic of Moldova M. V. Sechkin stands out as one of the key figures. He proved to be a multi skilled musician: piano player, conductor, and pedagogue. The scientific challenge disclosed in the article touches on creation of a coherent reflection of the work conducted by M. Sechkin in musical and artistic institutions of the Republic of Moldova during 1988–2015. Thus, notably contributing to the theoretical perception of the process of musical art development in the Republic of Moldova at the turn of the 21st century while filling up the gap in studying the history of Moldovan musical culture. Review of literature. The activity conducted by M. Sechkin was not reflected in the scientific literature. The present paper is the first attempt to present the creative portrait of the musician by summarizing press articles and a range of interviews. The purpose of this paper is confined to disclosing the contribution made by the famous piano player, conductor, and pedagogue M. Sechkin in the process of musical art development in Moldova at the turn of the 21st century. Research methodology. In the research of creative activity of M. Sechkin, use has been made of a complex of methods applicable in modern study of art: the empirical level of scientific research was established through informal personal conversations with M. Sechkin and other musicians, directly linked with his activity. Applied at the theoretical level were general scientific methods, such as analysis and synthesis, induction and deduction, comparison, etc. Statement of basic material. Over the years, M. V. Sechkin, born on March 31, 1943 in the Ukrainian City of Kharkov, has contributed decisively to the development of musical culture in the Republic of Moldova as a pianist, opera and symphony orchestra conductor, professor and public figure. He took his first lessons in music from his mother Maria Sechkin Zakharchenko, the follower of K. N. Igumnov. He attended the profile secondary musical school, class of Regina Gorovitz – the sister to the famous pianist Vladimir Gorovitz. In 1966, M. Sechkin graduated from Kharkov Conservatoire as a pianist on the class of Professor Mikhail Khazanovsky and then selected to remain with the Chair as an assistant. However, his dream of making a carrier of symphony and opera conductor has taken the young musician to a different path. The interest for conducting appeared under the influence of the art of conducting revealed by Leonid Khudoley, disciple of Nikolay Golovanov. Therefore, two years later, after graduation, M. Sechkin has entered the faculty of conductors at Kharkov Institute of Arts. One year later, he moves to Kyiv Conservatoire named after P. I. Tchaikovsky, where he attended the class of Professor Mikhail Kanershtein, disciple of one of the founders of the Soviet school of conducting Nicolay Malko. Next followed probation assistantship, where M. Sechkin attended a training course headed by the outstanding Ukrainian conductor Stephan Turchak. Having accomplished his probation assistantship, M. Sechkin has joined the Symphonic orchestra of Zaporozhye Philharmonics and later on invited to Donetsk Opera Theatre, where he mastered a rather comprehensive theatrical repertoire. The Chisinau (Moldova) period of maestro’s creative biography started beck in 1988, when he accepted the invitation to join the Moldovan State Conservatoire as Professor of the Chair of Special Piano and the Chair of Operatic Training. By then he headed the Students Symphony Orchestra, being one of the first conductors of Opera Studio. The Studio repertoire included the best images of West European and Russian opera classics. Prepared from the scratch were such operas as Carmen by G. Bizet and the Noblewoman Vera Sheloga by N. А. Rimsky Korsakov. The students – alumni of this conservatoire then worked successfully at the National Opera Theatre, performed in prestigious opera scenes around the world; among these one could mention Petru Racovita, Natalia Margarit, Lilya Sholomey, Yuri Gasca, Robert Khvalov, Stephan Curudimov, Mefodie Bujor, and Liliana Lavric. The Opera Studio Orchestra was touring in Italy and Spain. For a number of decades, M. Sechkin acted as one of the key conductors at the National Opera and Ballet Theatre, while from 1990 to 1992 acted as the Principal Conductor and the Art Director. Here he worked on staging the ballets Romeo & Juliette by S. Prokofiev, Spartacus by А. Khachaturian, and operas the Marriage of Figaro by W. Mozart, Don Carlos by G. Verdi, and Iolanta by P. I. Tchaikovsky. In parallel to the theatre plays, M. Sechkin has brightly proven his qualities as a conductor of the Symphony Orchestra of the National Philharmonics named after S. Lunchevici. Under his leadership (2008–2013), the orchestra performed more than twenty show programs, including premiere hits by P. Tchaikovsky (Symphony No. 5, symphony Manfred), A. Scriabin (Symphony No. 2 and No. 3), and S. Rachmaninoff (Symphony No. 3). Many of the musicians are marking high conducting mastery of M. Sechkin in performing orchestral accompaniment and special work with the soloists prior to orchestra performance. Likewise appreciated was the work of maestro with young musicians. The conductor devotes a lot of his time to promoting the oeuvre of Moldovan composers. Since 2000 and until nowadays, within the frameworks of the Days of New Music Festival, jointly with the National Philharmonics Orchestra, the maestro prepared a number of programs compiled from the works of V. Polyakov, V. Zagorsky, V. Rotaru, A. Luxemburg, O. Negruza, B. Dubossarsky, and Z. Tcaci. In 30 years of his activity in Chisinau, M. Sechkin cooperated with all of the known orchestra ensembles. Back in 90th, maestro was successfully touring with the National Opera and Ballet Theatre in Italy, Spain, Portugal, Switzerland, Rumania and Chile. In Rumania, M. Sechkin was working full time as a conductor and then as the principal conductor of the Symphony Orchestra of the city of Botosani (1998–2013), where he managed to stage about 70 show programs. The multifaceted and fruitful activity of the musician was repeatedly marked with Certificates of Honor and Diplomas. In 1996, he was decorated with the award Maestru în Artă (Master of Arts) and in 2018 with the noble award of the People’s Artist of the Republic of Moldova. Conclusions and prospects. While appreciating the contribution made by this outstanding musician into the development of the musical culture in the Republic of Moldova, one could clearly see the determinant trajectory of his life and artistic journey – the stalwart devotion to music, musical education, nurturing young performers and listeners of different age group generations.

Background. The article is a step towards a modern comprehension of the creative heritage by M. Karminskyi, whose work in the second half of the 20 century contributed to the development and international fame of Ukrainian music. Analysis of scientific publications (Heivandova, K., 1981; Ivanova, Yu., 2001; Kushchova, E., 2004 etc.), memoirs (Hanzburg, G., 2000) and a huge array of periodicals devoted to the composer allows us to single out the characteristic features of his creative personality, which determine the originality of his talent as a composer, explaining the constant demand for his music and its successful functioning in the pedagogical process, in particular, in children’s music schools. The purpose and objectives of this study – to consider the artistic and aesthetic orientation of the creative heritage by M. Karminskyi and identify its distinctive features, focusing on the genre and style aspect of his works for children and youth and their methodological significance in pedagogical practice. Research methods are based on general scientific principles of systematization and generalization. The most important role was played by the interdisciplinary approach to the analysis of the composer’s creative heritage from the standpoint not only of musicology, but also of history, culturology, and pedagogy. For reflecting the spiritual atmosphere, where the composer’s talent was formed, the historicalbiographical approach was of great importance. Research results. The way of formation of M. Karminskyi’s individuality, development of his innate musical inclinations to successful realization of talent is crowned with creation of compositions of various genres, both largescale – partitas, operas, music to performances, and chamber – vocal-choral and instrumental miniatures, among which the piano music for children and youth audiences appealed to the style of Ukrainian folklore occupies a significant place. Ukrainian literature, in particular, works by Taras Shevchenko, Lesia Ukrainka, and Ivan Franko, which were carefully studied by M. V. Karminskyi as a student of the Faculty of Journalism at V. N. Karazin Kharkiv State University, had a significant influence on the formation of the composer’s worldview and aesthetic priorities. Probably, it was the love for literature that determined the programmatic narrative nature of M. Karminskyi’s compositions. However, the love for music itself prevailed: M. Karminskyi continued his studies at the Kharkiv Conservatory in the class of Professor D. Klebanov possessed in perfection by the musical artistic heritage and was able to transfer creatively this knowledge to students. M. Karminskyi’s later applied the skills acquired from him in his work. In those years, the Kharkiv School of Composition stood out among other music unions of Ukraine with a high level of creative competence: composers sought their own way and artistic individuality, creating a modern musical language. However, even in this highly educated environment, the personal potential of Mark Veniaminovich, his highly artistic taste and erudition rose. Mark Veniaminovich is sometimes called “the knight of the country of childhood” thanks to his brilliant compositions for children. The composer speaks to the children’s audience with the help of intonations and artistic techniques available to the child’s worldview, but he does not adapt to the child, but teaches him to develop thinking, show strong emotions. Pupils like program music with interesting content that evokes familiar associations, specific ideas. Therefore, in many of his works M. Karminskyi turns to the literary basis, clear concrete and dynamic images, heightened emotionality (“Steppe, steppe...”, “Autumn Day”, “Lyrical intermezzo”, etc.). Such approach motivates children not to perform works abstractly and mechanically, but to bring their own emotions and understandings into them. M. Karminskyi uses clear three-part or couplet forms that contain repetition (the plays “Favorite Tale”, “Ancient History”, “Merry Trumpeter”, etc.), he is characterized by conciseness of melodic phrases. The texture is convenient for children’s hands: parallel intervals, counterpointing voices, organ points of the lower voice, melodic figurations and harmonic degrees sustained in the middle line, register dynamics are used. These and other techniques promote students’ technical capabilities by developing mobility and finger strength. Continuing the traditions of the Ukrainian singing school, M. Karminskyi pays a lot of attention to the techniques of cantilena performance, forcing students to master the art of playing the pedal, which requires careful sound control. Piano ensembles, unique in their poetic beauty, were created by the composer at the end of his not too long life. These plays use themes from the music to the play “Robin Hood”, and the musical images of the pieces are extremely clear even in the names: “Old Grandfather Kohl”, “Lady Tambourine”, “Road to the Temple”, “Crazy Waltz”. M. Karminskyi, feeling a passionate interest in theatrical action with its playful moments and the task of embodying specific images, created music for performances. The radio production “Robin Hood” with the participation of the country’s leading artists, based on the poems of the famous Scottish poet R. Burns translated by S. Marshak and imbued with romantic sublimity, lyricism and sincerity, received a special resonance; it contains expressive melodies that are quickly memorized. In 1978, the company “Melody” released a stereo disc “Robin Hood” with a recording of this radio show. The variety of artistic tasks of the ensemble music of M. Kaminskyi leads to the formation of a variety of pianistic skills. The predominance of playful, moving images in plays develops motor technic and synchronization in performing. The meter and the rhythm of the works are complicated using the measures 6/8, 9/8 or size change in one work: 2/4; 3/4; again 2/4; then 4/4. This technique allows you to transmit movement and free breath of a musical phrase. Karminskyi actively uses chords from fourths and fifths intervals characterized the repertoire of Ukrainian bandura players. Conclusions. The composer gave the children a lot of strength and inspiration, creating music for them in accordance with high moral and ethical criteria and filled with vivid emotions, theatricality, and visible concrete imagery. Miniatures for the children’s choir, the master’s piano pieces have a high spiritual meaning and are among the best achievements of Ukrainian children’s musical literature. The piano music of M. Karminskyi is marked by a tendency to search for a new national style: the composer does not quote folk melodies, creating original musical images in the spirit of folklore. The multi-genre works of M. Karminskyi embody the eternal themes of good and evil, love and death, betrayal and fidelity with the emotional strength inherent in his music, demonstrating the composer’s deep erudition and human decency, originality, uniqueness of his personality and his talent.