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Journal articles on the topic 'Ukrainian Musical instruments'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Denkovych, Vasyl. "REPRESENTATION AND SYMBOLISM OF FOLK MUSICAL INSTRUMENTS IN CONTEMPORARY UKRAINIAN NATIONAL CULTURE." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 84–87. http://dx.doi.org/10.17721/ucs.2023.1(12).18.

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The article examines the issue of representation of Ukrainian folk instruments. The symbolic meaning of folk instruments is revealed, the connotations that demonstrate their deep implementation in the practice of creating national culture are highlighted. Such instruments as kobza, bandura, pipe, bugai, trembita are associated with the formation of the ethnic folk complex, which demonstrates the ability to be reincarnated in modern artistic practices. During their existence, they underwent changes in design, gained use in various musical stylistic directions. At the same time, they retained th

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2

Fabryka-Protska, Olha. "Functioning and Preservation of Ukrainian Folk Instruments on the Territory of Slovakia." Issues in Cultural Studies, no. 36 (December 28, 2020): 90–98. https://doi.org/10.31866/2410-1311.36.2020.221050.

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The purpose of the article is to summarize the functioning of Ukrainian folk musical instruments on the territory of the Slovak Republic and identify the areas of its today’s existence for further research. A comprehensive approach is the main principle of solving the task. The research methodology consists in using theoretical, historical, culturological, art studies approaches, which allowed revealing the interaction of trends represented by multicultural phenomena, as well as the relations between the ethnic groups, regions and countries. The article is based on the methodological pri

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3

Tsytsyriev, V. "Development of the Ukrainian Orchestra of Folk Instruments: Socio-Cultural and Historical Aspects." Culture of Ukraine, no. 80 (June 30, 2023): 118–25. http://dx.doi.org/10.31516/2410-5325.080.15.

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The relevance of the article. Ukraine is currently going through a difficult period of its existence, all strata of the Ukrainian population are now suffering from the consequences of the beginning of full-scale Russian aggression against our country, so today the preservation and development of folk and instrumental performance on folk instruments is relevant, covering all aspects of society and the national preservation of folk art and the unity of the Ukrainian people. The purpose of the study is to demonstrate key points at the stage of development of such phenomenon of national musi

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4

Iryna, Riabchun. "Ukrainian carillon arrangements as an instance of the cultural transmission and adaptation." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 60, no. 60 (2021): 57–74. http://dx.doi.org/10.34064/khnum1-60.03.

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The development of carillon art in Ukraine is studied. The distribution of carillons in Ukraine is considered. The issue of creating a national carillon repertoire is investigated. The interactions between the Western European instrument and the Ukrainian national music are analysed. Possibilities in reflecting the peculiarities of Ukrainian folk song by means of carillon texture are shown. Analogies are made between the texture of the carillon and the ways of playing typical instruments of Ukrainian folklore. Methods of combining Ukrainian and Western musical vocabulary, laid down by M. V. Ly

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5

Чжоу, Чженьюй. "ОСОБЛИВОСТІ МУЗИЧНОГО ВИХОВАННЯ УЧНІВ У ШКОЛАХ КНР". Педагогіка та психологія, № 60 (15 січня 2019): 148–57. https://doi.org/10.5281/zenodo.2540197.

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On the basis of the analysis of scientific and methodological sources, the peculiarities of musical education in Chinese schools are determined; considered the aim (formation of the spiritual culture of the individuality), content (the assimilation of the foundations of musical literacy, familiarization with the classical world-famous musical works and the ability to classify them; mastering the knowledge that helps sing in the choir and play musical instruments; study biography of famous domestic and foreign musicians, etc.), forms (lessons and after-activity classes in music), methods (empat

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6

Dutchak, Violetta. "The Ukrainian Bandura as a Musical Instrument of the Chordophone Group." Journal of Vasyl Stefanyk Precarpathian National University 4, no. 2 (2017): 125–33. http://dx.doi.org/10.15330/jpnu.4.2.125-133.

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The article examines the characteristics of the bandura as a plucked chordophone. A comparative analysis of the researches undertaken by outstanding musicologists, performers, ethno-organologists S. Lyudkevych, E. Hornbostel, C. Sachs, H. Khotkevych, Z. Shtokalko, and others is carried out. The morphology of the instrument and the main stages in its evolution are discussed. The stable and mobile elements of the bandura’s structure and tuning are described. The technical characteristics of the instrument in different periods of its evolution and the achievements of the bandura makers and bandur

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7

Bulyk-Verkhola, S. Z. "NAMES OF UKRAINIAN FOLK PERCUSSIONAL MUSICAL INSTRUMENTS : LEXICO-SEMANTIC ANALYSIS." Тrаnscarpathian Philological Studies 1, no. 22 (2022): 13–17. http://dx.doi.org/10.32782/tps2663-4880/2022.22.1.2.

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8

Khai, Mykhailo. "Musical and instrumental culture of Ukrainians as a component of the formation of national outlook." Aspects of Historical Musicology 19, no. 19 (2020): 94–119. http://dx.doi.org/10.34064/khnum2-19.06.

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Background. One of the integrating, determining and identifying forces of the social progress of the entire human community is the custom and folklore tradition of the smallest sub-ethnic units / constituents individual nations and peoples, their verbal and ethno-cultural (including ethno-musical) sources, that, like rivers and brooks, fill the ocean of culture promoting for life and further development. The structure of the traditional Ukrainian musical culture, along with the well-known the old practices of group singing, itinerant kobzars and lira players, also consists of a powerful musica

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9

Petro, Krul. "GENESIS OF MUSICAL ORGANOLOGY IN UKRAINE." Knowledge, Education, Law, Management 2(26) (December 20, 2019): 144–48. https://doi.org/10.5281/zenodo.3588595.

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This article is devoted to wind musical instruments, which emphasizes the historical significance of the era, when in parallel with the first applications in the orchestra of folk art formed the foundations of the orchestral style with its attraction to the principles of folk colour, song, psychological and artistic imagery. The multifaceted evolution of wind instruments in the sphere of folk art could not but contribute to the formation of solo-performing style .On the basis of folk song creativity there was a certain system of artistic means and certain performing techniques, the gene pool o

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10

Berehova, Olena. "Maryna Denysenko-Sapmaz’s aesthetics in the cultural creation processes of Ukraine at the turn of the XX–XXI centuries." Culturology Ideas, no. 22 (2'2022) (2022): 92–101. http://dx.doi.org/10.37627/2311-9489-22-2022-2.92-101.

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For the first time in Ukrainian musicology, an attempt was made at a creative portrait of the composer Maryna Denysenko-Sapmaz, the main stages of formation of her creative personality were outlined, a panoramic review of significant works in her creative biography was offered. Analytical observations allowed generalizations about the orientations of her musical aesthetics, including the postmodern worldview, the tendency to combine neo-styles, openness to technological experiments and avant-garde research in various composition techniques, synthesizing the principles of European and Eastern m

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11

Berehova, Olena, and Elena Yermakova. "INTERPRETATION OF GENRE OF THE MARIAN ANTIPHONS IN CONTEMPORARY UKRAINIAN MUSIC (on the example of the cycle «Mariologia» by A. Retynsky)." Музикознавча думка Дніпропетровщини, no. 19 (December 30, 2020): 104–13. http://dx.doi.org/10.33287/222038.

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The purpose of this scientific article is to learning Marian antiphons as a fundamentally important musical attribute of church liturgical spiritual practice and as an essentially specific genre of composition into the contemporary Ukrainian music on the example of the artistic work of a well-known Ukrainian composer Oleksiy Retynsky. There are methods of this signified research. The research of Marian antiphons is carried out using the methodology of historical musicology, holistic musicological analysis and musical hermeneutics. The scientific novelty of this represented investigative work i

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12

Zinkiv, Іryna. "With Regard to One Archetype of Ukrainian Musical Culture: Tripartite Music." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 1, no. 1 (2018): 6–17. https://doi.org/10.31866/2616-7581.1.2018.140567.

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Among the archaic archetypes of the Ukrainian musical culture, less researched ones belong to Indo-European (more specific – Indo-Iranian) origin. One of these is a tripartite music (<em>troyista muzyka</em>) that preserved deep links with pre-Christian (Scythian, Sarmatian-Alanian, Old Slavic) rituals, individual genres of the Ukrainian epic and calendar ritual folklore. The <em>tripartite</em> word genesis is associated with the ancient <em>trizna</em> Slavic word, related to the concept of a triple sacrifice – water, earth and sky, which Slavs-pagans offered

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13

Kepin, Dmytro. "The bassoon as a monument of musical culture: source studies." Вісник Книжкової палати, no. 7 (July 28, 2022): 42–48. http://dx.doi.org/10.36273/2076-9555.2022.7(312).42-48.

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The article for the first time in Ukrainian historiography, museology and monumentology considers works of European fine art, where there is an image of a wind wooden musical instrument bassoon. Works of painting, graphics, works of monumental art (sculpture) are analyzed. This is a characteristic of the collections of bassoons in museums in Western Europe, the USA and Canada. Publications stored in the funds of the Vernadsky National Library of Ukraine, Yaroslav Mudryi National Library Of Ukraine, the National Historical Library of Ukraine, the National Scientific and Research Restoration Cen

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14

Hromchenko, Valerii. "Vocal instrumentality as the ethno-cultural feature of V. Martyniuk's composer style (the case of compositions for wind instruments)." Culturology Ideas, no. 20 (2'2021) (2021): 99–106. http://dx.doi.org/10.37627/2311-9489-20-2021-2.99-106.

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The article discloses the instrumental language nature of Dnipro composer Valentina Martyniuk from the perspective of the ethno-cultural features for master's author style. The investigation is being carried out on the basis of compositions for wind instruments, namely "Interview on a given topic" for clarinet solo, Vocalize for flute and piano, as well as Melody for horn (or flute) and piano. The investigation has established the defining foundation of the vocal of the composer's instrumental language to be the phenomenon of folk singing style of artistic instrumental creations. This phenomen

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15

Danyliuk, Yana. "Art-Dominanta International Folk Instruments Performers Competition as a factor in maintaining the spiritual security of the Ukrainian society and promoting the traditions of folk instrumental art of Ukraine in the world." Culturology Ideas, no. 19 (1'2021) (2020): 174–87. http://dx.doi.org/10.37627/2311-9489-19-2021-1.174-187.

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The issue of preserving national culture in such traditional forms of musical art development as contests of folk instruments performers is an important research area considering the existing exacerbation of socio-economic and spiritual crisis of Ukrainian society against the background of the world processes of globalization and digitalization of cultural and educational space. Therefore, the study aims to comprehensively explore the experience of conducting the Art-Dominanta International Folk Instruments Performers Competition as an important promotion factor of folk instrumental art among

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16

Dzvinka, Roman. "Creative Works of Mykhailo Tymofiyiv in the Context of the Pipe Performing Evolution (to the 80th-Anniversary of the Date of Birth)." International Journal of Literature and Arts 13, no. 3 (2025): 56–60. https://doi.org/10.11648/j.ijla.20251303.13.

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The article deals with the study of the creativity of the famous artist of Mykhailo Tymofiyiv in the process of formation and development of modern pipe performing. The most important aspects of the authentic and secondary performance of the virtuoso multi-instrumentalist and master of wind ethno-instruments are revealed. The relevance of this topic is to study the significant creative work of M. Tymofiyiv, a virtuoso multi-instrumentalist, master of ethno-blue wind instruments, who made a significant contribution to the development of Ukrainian pipe performance. The phenomenon of a great Huts

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17

Doroha, Alla. "Activity of Public Organization as a Phenomenon of Ukrainian Cultural Heritage." Culturology Ideas, no. 14 (2'2018) (2018): 117–22. http://dx.doi.org/10.37627/2311-9489-14-2018-2.117-122.

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The article analyses the activities of the Musical Society of Ukraine from 1969 to 1973. Attention is drawn to things of historic importance: creation of new professional groups (folk instruments orchestra, male choir, chamber choir), Renaissance of the kobza-playing, building the Song festival grounds, building of new music schools, creation of a network of musical-production activities. In the proposed approach, the concept of cultural heritage will be reduced to a lively, inspired, creative process, marked by high professionalism, indifference and non-material interest in the result. This p

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18

Blazhevych, Vasyl. "EVOLUTION OF GUITAR ART PERFORMANCE TRADITIONS IN THE NATIONAL CULTURAL AND EDUCATIONAL DIMENSION." Aesthetics and Ethics of Pedagogical Action, no. 15 (March 9, 2017): 107–15. http://dx.doi.org/10.33989/2226-4051.2017.15.175896.

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The essence and the content of “performing tradition” and “cultural and educational dimension” have been explained in the article. The author examines the history of the emergence and development guitar art in Ukraine as a whole, and specifically performance traditions of the guitarists. Practical educational and performing experience of a lot of prominent guitarists of national cultural and educational dimension, their performing concepts, techniques and methods, has been described; the author gives a complete description of the evolution of guitar art in Ukraine.An objective study of the his

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19

Dutchak, Violetta, and Iryna Riabchun. "Carillon: History and Performing Capabilities of the Musical Instrument, its “Philosophy” and Prospects of Development in Ukrainian Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (2021): 45–60. http://dx.doi.org/10.31866/2616-7581.4.1.2021.233338.

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The article focuses on the history of origin, the specifics of sound production, the philosophy of performance of the carillon – a European musical instrument, which in recent decades has become active in Ukraine. The purpose of the research is to analyze the history of the carillon origin, its design, technical and expressive means of sound extraction and musical representation of composition and performance. Research methodology. The article uses historical, axiological, musicological and culturological approaches and corresponding methods. The historical-chronological method is used to cons

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20

Dutchak, Violetta, and Iryna Riabchun. "Carillon: History and Performing Capabilities of the Musical Instrument, its "Philosophy" and Prospects of Development in Ukrainian Culture." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 1 (2021): 45–60. https://doi.org/10.31866/2616-7581.4.1.2021.233338.

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The article focuses on the history of origin, the specifics of sound production, the philosophy of performance of the carillon – a European musical instrument, which in recent decades has become active in Ukraine. The purpose of the research is to analyze the history of the carillon origin, its design, technical and expressive means of sound extraction and musical representation of composition and performance. Research methodology. The article uses historical, axiological, musicological and culturological approaches and corresponding methods. The historical-chronological method

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21

Lisniak, Inna, and Tetiana Cherneta. "Ukrainian Folk Dumy: Problems of Historical Development and Modern Performance." Folklore: Electronic Journal of Folklore 95 (April 2025): 105–28. https://doi.org/10.7592/fejf2025.95.lisniak_cherneta.

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The Ukrainian dumy are late-stage heroic epics dating back to the 15th–17th centuries, reflecting significant historical events and figures closely related to Ukraine’s history. Dumy exhibit a unique poetic and musical structure, characterized by uneven syllabic lines, monorhymes, the absence of stanzas, as well as a particular musical composition, ornamented cadences, and musical formulas, and the chromatized Dorian or narrow range diatonic scale. Dumy were performed predominantly by men in a recitative style and were accompanied by instruments such as the kobza and bandura. An important cond

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22

Rusek, Zbigniew. "O instrumentach, narzędziach, przyrządach, przyborach w językach słowiańskich." Studia z Filologii Polskiej i Słowiańskiej 46 (September 25, 2015): 157–74. http://dx.doi.org/10.11649/sfps.2011.010.

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Names for instruments, tools, devices and accessories in Slavonic languagesThis article is devoted to the names for ‘instruments’, ‘tools’, ‘devices’ and ‘accessories’ in Slavonic languages. As it was described in this paper, there is no common name, which is an equivalent of Latin ‘instrumentum’ in Slavonic languages. The name, coming from Latin instrumentum, is known in the majority of the languages (except Czech and Slovak), but its scope of the meaning is not the same. In Polish it concerns only musical and medical (mainly surgical, dental, laryngological) instruments, but for instance in

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23

Bulibenko, Galina. "Organ Transcriptions: Problems of its Creation in the Process of Concert and Stage Interpretation." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 1(58) (March 28, 2023): 67–81. http://dx.doi.org/10.31318/2414-052x.1(58).2023.284758.

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The author analyzed the problems of creation of transcriptions for various musical instruments, in particular for the organ, that are described in Ukrainian specialized scientific literature. The specifics of modern world concert practice are updated from the point of view of modernity, which requires musicians of various specialties to have the ability to adapt individual works for their performance on another instrument. This factor is an integral part of the performing practice of organists. The author discovered the historical roots of the practice of making transcriptions, which requires

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24

Ilienko, Olesia. "VOLODYMYR IVASIUK AND THE ENSEMBLE “CHERVONA RUTA”: CONTRIBUTION TO THE FOUNDATIONS OF UKRAINIAN NATIONAL IDENTITY IN THE CONTEXT OF POP MUSIC DEVELOPMENT." Scientific Journal of Polonia University 67, no. 6 (2025): 50–56. https://doi.org/10.23856/6707.

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This article provides a comprehensive analysis of the creative legacy of Volodymyr Ivasiuk and the activities of the ensemble Chervona Ruta as pivotal phenomena in the socio-cultural and musical history of Ukraine in the second half of the 20th century. The study highlights the formation of the ensemble, its landmark performances, and its contribution to the development of Ukrainian pop music. Particular attention is given to the emergence of a new musical style that fused elements of traditional folklore with contemporary pop trends, thereby promoting Ukrainian culture on both national and in

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25

Bilova, Yelyzaveta. "Trends in performance on percussion instruments in musical practice of the XXI century (on the example of arrangements of Ukrainian songs)." Aspects of Historical Musicology 36, no. 36 (2024): 142–57. https://doi.org/10.34064/khnum2-36.08.

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Statement of the problem. The development of musical art in the 20th and early 21st centuries is a complex and multidimensional process that attracts the attention of many musicologists. One of its features was the emergence of an extensive system of various styles and genres, the existence and development of which is parallel to the paradigm of academic music. Pop music in all its various manifestations, musical styles associated with the functioning of numerous subcultures – all these phenomena are only in some aspects of their functioning related to academic musical art, but this sometimes

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26

Kysliuk, Andrii. "Music of Pre-Lysenko Period in the Studies of Mykhailo Stepanenko." Folk art and ethnology, no. 1 (March 30, 2025): 95–103. https://doi.org/10.15407/nte2025.01.095.

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The musicological heritage of Mykhailo Borysovych Stepanenko, devoted to the study of Ukrainian piano music of the pre-Lysenko period is analyzed in the article. The works of M. Stepanenko in the field of piano music history belong to several important areas, namely: 1) the history of piano art (instruments, music forms), 2) the study of figures of Ukrainian composers and musicians of the pre-Lysenko period and their contribution to the development of Ukrainian instrumental art, 3) the special study of archival materials and the updating and returning musical heritage of that time to scientifi

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27

Rahulina, M. "GAME METHODS OF DEVELOPING PRESCHOOL CHILDREN’S CREATIVE ABILITIES WITHIN MUSICAL ACTIVITIES." Aesthetics and Ethics of Pedagogical Action, no. 27 (June 4, 2023): 178–88. http://dx.doi.org/10.33989/2226-4051.2023.27.282145.

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The article analyzes the essence of the categories “creativity” and “creative abilities”. It highlights the game methods of developing preschool children’s creative abilities within various types of musical activities, such as listening to music, singing, musical-rhythmic and musical-game activities, and playing children’s musical instruments. The approaches of V. Verkhovynets, K. Orf, Sh. Suzuki and others have been analyzed the development of children’s creative abilities in musical activities, which are successfully applied in preschool music education in Ukraine. Variants of musical

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28

Doiar, Larуsa. "Music and speech content of the Radio magazine (1935)." Вісник Книжкової палати, no. 10 (October 28, 2019): 36–40. http://dx.doi.org/10.36273/2076-9555.2020.10(291).36-40.

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The presented article continues a series of author's investigations devoted to the annual analysis of book prints and periodicals, which were published in Ukraine at different times. The problem of development of music radio broadcasting in the Ukrainian Socialist Soviet Republic (USSR) is raised in the work. Based on the annual notebook of the all-Ukrainian scientific and technical magazine "Radio" for 1935, the author examines its music and speech content and concludes that despite the curtailment of the Ukrainization campaign, the magazine remained a platform for discussing the problems of

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29

Yarmola, Victoriya. "РОГИ В ТРАДИЦІЙНІЙ МУЗИЧНІЙ КУЛЬТУРІ ЗАХІДНОГО ПОЛІССЯ". Ethnomusic 19, № 1 (2023): 97–111. http://dx.doi.org/10.33398/2523-4846-2023-19-1-97-111.

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The function, and methods of producing signal horns in Western Ukrainian Polis- sia are characterized in this article for the first time. The research is based mainly on author’s own expedition records, as well as rare documents from the archive of Olek- sa Oshurkevich and other published sources. In traditional Western Polissian culture, the horn as a musical instrument was an integral attribute of the shepherds’ musical traditions, the same as hunters’ use. The following types of horns were developed according to their purpose: signal or entertainment (game). The first were used as signal mu

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Mandziuk, Liubov. "Musical and performance projects as a way to honor the memory of the prominent Kharkiv native Hnat Khotkevych." Aspects of Historical Musicology 36, no. 36 (2024): 7–27. https://doi.org/10.34064/khnum2-36.01.

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Statement of the problem. The multifaceted activities of Hnat Khotkevych laid the foundation for the professionalization of bandura art. His figure is significant for the folk instrumental art of Ukraine. Conducting musical and performance projects is a valuable way to preserve and disseminate the legacy by H. Khotkevych. Promoting Ukrainian national culture amidst the current war in Ukraine is a pressing task. Additionally, developing bandura art as a purely Ukrainian national heritage is timely. The relevance of this article lies in the lack of comprehensive scientific understanding of music

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Kysliak, Bohdan. "Ukrainian folk instrumental ensemble music-making in the historical process." Aspects of Historical Musicology 28, no. 28 (2022): 24–37. http://dx.doi.org/10.34064/khnum2-28.02.

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Statement of the problem. The ensemble is a type of collective musicmaking that dates back to ancient times and is an integral factor in the spiritual life of any nation. For Ukrainian culture, the traditions of the folk-instrumental ensemble have always been important, because they were associated with labor and ceremonial-ritual functions in society, people’s daily life, and secular forms of musical art. The article singles out significant elements of the process of academicization and chamberization of accordion ensembles in order to determine the characteristic features of Ukrainian folk-i

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32

Koval’chuk, Inna V., and Eduard O. Kraichynskyy. "NATIONAL AND CULTURAL CHARACTERISTICS OF ENGLISH LEXICAL UNITS TO DENOTE MUSIC AND NAMES OF MUSICAL INSTRUMENTS." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ Fìlologìčna 1, no. 22(90) (2024): 21–25. https://doi.org/10.25264/2519-2558-2024-22(90)-21-25.

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The article deals with the attempt to analyze English LU used to denote the music notion and names of musical instruments. These LU selected from the Internet, scientific works in the field of musicology and from modern English lexicographical sources contain interesting and meaningful information about national and cultural features of LU used to denote the music notion and names of musical instruments. The theoretical achievements of Ukrainian and English scholars denoted their studies to the field of ethnolinguistic, which depicted national and cultural peculiarities of the language signs,

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Kocherzhuk, D. "Preservation and Restoration of the Cultural Heritage of Ukraine: the Experience of Audio Recordings of the VIA Era." Culture of Ukraine, no. 80 (June 30, 2023): 49–56. http://dx.doi.org/10.31516/2410-5325.080.06.

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The purpose of the article. The article highlights the peculiarities of the development of the traditional Ukrainian songbook in the works of well-known vocal and instrumental ensembles (VIA) such as “Smerichka / The Spruce” (Vyzhnytsia, Chernivtsi region) and “Dzvony / The Bells” (Kyiv). The influence of electro musical instruments on artistic processes and the experience of audio recordings of the VIA era as a traditional form of preservation and restoration of song heritage is emphasized. The characteristic features of the emergence of the “big-bit” style in the works of popular bands of th

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Tsiuliupa, S. D. "Doctoral dissertations of wind instruments musicians in Ukraine (the end of XX – early XXI century)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 24–39. http://dx.doi.org/10.34064/khnum1-54.02.

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This paper is the first attempt to lay out the major scientific achievements of teachers of faculties of wind and percussion instruments of Ukrainian universities with 3-4 accreditation levels, for the period from second half of XX – to beg. of XXI century. This article systematizes and precisely analyzes the content of obtained PhD dissertations on musical art, theory and methodic of professional education, musical art, theory, the methodic and organization of cultural and educational activities. In the period of Ukraine’s integration into the European entities, scientific work becomes the le

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35

Khai, Mykhailo. "Nykolaieva by Prylypchany Brothers is a Pinnacle of World Traditional Instrumentalism." Materìali do ukraïnsʹkoï etnologìï 21 (24) (November 30, 2022): 125–46. http://dx.doi.org/10.15407/mue2022.21.125.

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Instrumental perfromance of pastoral songs, especially in large-format recreational instrumental and dance activities, occupies a peculiar place among the unusual phenomena of traditional musical culture of Ukrainians alongside the ancient manifestations of musical-heroic epics – bylynas and dumas, and the renown culture of group singing – calendar and ceremonial-ritual melodies and lyrical-sub-vocal songs. In this article, on the basis of a unique Hutsul «performance» on three homogeneous instruments, where the three main functions (melody, «contra» / «second» and «bass») are executed on thre

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Daniliuk, Ya V. "The development of the art of the domra playing in Ukraine in the context of the revival of folk musical-instrumental culture at the turn of the XX–XXI centuries." Aspects of Historical Musicology 18, no. 18 (2019): 120–40. http://dx.doi.org/10.34064/khnum2-18.07.

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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, develo

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Oliinyk, Oleksandr. "The fundamental elements of rhethoric and their impact on music art." Scientific Herald of Uzhhorod University Series Physics 2024, no. 55 (2024): 1733–42. http://dx.doi.org/10.54919/physics/55.2024.173oj3.

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Relevance. Rhetoric, traditionally associated with effective speech, also deeply influences musical composition and interpretation, particularly in string and plucked instruments which are emblematic of Ukrainian national art. This article explores the significant interplay between rhetorical principles and musical expression, emphasizing its relevance in the context of contemporary performance art.Purpose. The study aims to investigate how rhetorical principles, specifically the inventio techniques, apply to musical expression and performance. It seeks to enrich the theoretical framework of U

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Oshchepkov, Maxim. ""The Mountain Legend" for Viola and String Instruments by E. Stankovych: History, Composition, Dramaturgy." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 4(61) (December 22, 2023): 108–20. https://doi.org/10.31318/2414-052x.4(61).2023.301192.

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This article dwells on the peculiarities of the unique music play of small form by Yevhen Stankovych −“The mountain legend” for viola and string instruments. The author revealed the circumstances of its creation, finding out that it was written specifically for the Zenon Dashak International Violin Competition (Kyiv, 2004) as a mandatory competition piece. The existence of two author's versions of the musical work has been established: the first for viola and piano; the second for viola and string orchestra. The existing audio recordings of the "The Mountain Legend" made by the famous Kyiv vio

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Gorbal, Y. M. "Professional Training of Military Musicians in Ukrainian Lands at the Turn of the XIX–XX Centuries." Culture of Ukraine, no. 71 (April 2, 2021): 75–81. http://dx.doi.org/10.31516/2410-5325.071.09.

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Abstract. The Armed Forces of Ukraine have strong traditions of musical bands that date back to princely and Cossack times. The task of their orchestras is to boost the morale of servicemen, to strengthen the power of the Ukrainian army by means of musical arts, as well as to perform at festive events (both at the local and the state level). However, despite the importance and diversity of creative and educational activities of the Military Orchestra Service of the Armed Forces of Ukraine, no comprehensive study of historical aspects of the functioning of music and military bands in national m

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Zinkiv, Iryna Ya. "Academization of the Ukrainian Bandura by the Proficient Bandura-Craftsmens of the XX – Early XXI Centuries." Revista Gestão Inovação e Tecnologias 11, no. 4 (2021): 2459–80. http://dx.doi.org/10.47059/revistageintec.v11i4.2295.

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Among the main signs of Ukrainian culture, its instrumental artifact, the bandura, which is the nation-building component of Ukraine, holds a significant place. The proposed paper attempts to characterize the bandura development from the diatonic instrument at the beginning of XX century, developed by the prominent Ukrainian bandura craftsmen in their creative activity – O. Korniievskyi, I. Skliar, V. Herasymenko, – to the modern “chromatic” instrument with dual-diatonic scale, wide sound range and technical characteristics. Only two from among several play methods that existed in the traditio

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Vyshpinska, Ya. "MUSICAL LANGUAGE IN SONGS BASED ON YURIY FEDKOVYCH’S POEMS IN THE COLLECTIONS OF THE CHERNIVTSI LITERARY-MEMORIAL MUSEUM OF YURIY FEDKOVYCH." Aesthetics and Ethics of Pedagogical Action, no. 31 (June 3, 2025): 128–43. https://doi.org/10.33989/2226-4051.2025.31.331575.

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The article outlines important approaches to the study of musical texts created by Ukrainian composers of the past and present for song pieces based on poems by Yuriy Fedkovych, in which the semantics of musical writing in choral and vocal samples, the peculiarities of the sound of musical language, the construction of melody, harmony, rhythm, which reflect the poetic text, its content and emotional coloring, are studied and analyzed. Only in the combination of musical talent and selected words can a song be born, winged and sublime, recognizable and native, which will live on for many years a

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Kliuka, T. "Choral concert “The soul calls for an owner...” by Yurii Alzhniev: genrestylistic and compositional features." Culture of Ukraine, no. 81 (September 21, 2023): 48–54. http://dx.doi.org/10.31516/2410-5325.081.06.

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The relevance of the research. The musical work of the well-known Ukrainian composer, a bright representative of the Kharkiv school of composers — Yurii Alzhniev — is widely known and respected in the modern musical culture of Ukraine. The artist is the author of a large number of large-scale and small-scale works for symphony and chamber orchestras, orchestra and ensemble of folk instruments, a significant number of choral, vocal, vocal-symphonic works, theatre music, separate compositions for various instruments and instrumental ensembles, etc. Today, the most significant samples of Yurii Al

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Zatynaiko, Olha. "The influence of F. Busoni’s creative legacy on the performance and pedagogical traditions of Ukrainian musical culture." Aspects of Historical Musicology 36, no. 36 (2024): 41–61. https://doi.org/10.34064/khnum2-36.03.

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Statement of the problem. The study emphasizes the need to restore the historical context of Ukraine’s musical culture by the way of researching the influence of leading European composers on Ukrainian musical education and performance. The article analyzes the influence of Ferruccio Busoni’s creative legacy on the development of Ukrainian music performance and pedagogical tradition. In Ukrainian musicology, there has been little research dedicated to F. Busoni’s creative works, with the main focus on his pedagogical and editorial activities. A few studies examine his technical methods and con

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Makiіenko, Stepan. "The stylistic originality of Yurii Shevchenko’s instrumental works on the example of “ThreeUkrainian Songs” for string orchestra." Aspects of Historical Musicology 33, no. 33 (2023): 156–72. http://dx.doi.org/10.34064/khnum2-33.09.

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Statement of the problem. The musical language of Ukrainian composers of the XX–XXI centuries is a complex and rather poorly studied field in modern musicology. This phenomenon raises many questions due to the diversity of styles, forms, and individual expressive systems of composers. Music for chamber ensemble vividly reflects the significant transformations in the artistic perception owned to our era. This musical context includes the work of the Ukrainian composer Yuriі Valentynovych Shevchenko (1953–2022), an outstanding figure in the national musical culture. The composer’s work is consid

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Bohatyrov, Volodymyr. "The conceptional system of orchestration in the works of European and American authors of the 19th and 20th centuries." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 140 (November 28, 2024): 171–87. https://doi.org/10.31318/2522-4190.2024.140.318664.

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Relevance of the study. A review of sources on the theory of orchestration is necessary because the knowledge of this art is extensive. This issue is complicated by the fact that each of the musical traditions (including English, American, French, German, Polish and Ukrainian) has its own terminological system, which may not always be consistent. Analysing the concepts of orchestration from the linguistic and historical perspectives allows us to form a unified system that can be used in educational and musicological discourse. Main objective of the study is to analyze and systematize the basic

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STELMASHCHUK, ZINOVIY. "FEATURES OF STUDYING THE EDUCATIONAL DISCIPLINE “INSTRUMENTAL SCIENCE AND METHODOLOGY OF WORKING WITH A CHILDREN’S MUSIC GROUP”: EXPERIENCE AT AN INSTITUTION OF HIGHER EDUCATION." Scientific Issues of Ternopil Volodymyr Hnatiuk National Pedagogical University. Series: pedagogy 1, no. 2 (2023): 135–44. http://dx.doi.org/10.25128/2415-3605.22.2.17.

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Attention is focused on the importance of improving the quality of music teacher training by achieving the necessary competencies related to music-making technologies on Ukrainian folk instruments in the process of conducting music lessons in secondary schools, managing children's instrumental ensembles in out-of-school education institutions. Work experience while teaching the course «Instrumental science and methods of working with a children's music group» at TNPU is highlighted. The basic conditions that affect the development and process of formation of professional skills and skills of p

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Mingze, Gao. "Ukrainian Symbolism: From Emergence to Revival in the Contemporary Wartime Reality." ARTISTIC CULTURE. TOPICAL ISSUES, no. 20(2) (November 28, 2024): 99–104. https://doi.org/10.31500/1992-5514.20(2).2024.318257.

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Ukrainian symbolism emerged at the turn of the century, and its took its definite theoretical shape in the early twentieth century. Intuitively sensing the forthcoming changes, the symbolists transformed the system of cognition of the world, building it on the basis of creativity, where the latter was interpreted as subconsciously intuitive contemplation of secret meanings accessible only to the artist-creator. The symbol became the central aesthetic category of the new movement and the main means of storing and transmitting the contemplative secret meaning. In their artistic work, Ukrainian s

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Medvid, T. "CREATIVE DEVELOPMENT OF STUDENTS IN THE MUSICAL AND PEDAGOGICAL CONCEPT OF K. ORFF." Aesthetics and Ethics of Pedagogical Action, no. 23 (August 4, 2021): 118–25. http://dx.doi.org/10.33989/2226-4051.2021.23.238263.

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The essence of K. Orff’s musical and pedagogical concept is considered in the article; the importance of the creative development of students of secondary schools is revealed. The meaning of 'elementary music,' which is connected with movement, dance, and word and creates a basis for the child’s development, is clarified. The five-volume collection 'Orff-Schulwerk. Musik für kinder' is analyzed; its role in creating analogues in different countries is revealed. The problem of stimulating the creative potential of the individual by means of the music-pedagogical system is highlighted. The

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Gorbolis, Larysa M., and Anna Ye Chernysh. "ARTISTIC TRINITY: LITERATURE – CINEMA – MUSIC (THE FILM “EARTH” BY O. DOVZHENKO)." Alfred Nobel University Journal of Philology 2, no. 26/2 (2023): 238–52. http://dx.doi.org/10.32342/2523-4463-2023-2-26/2-15.

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The purpose of the article is to reveal the ideological, thematic, descriptive, intonation-rhythmic consonance of the musical accompaniment of the band “DakhaBrakha” with the film and film story by O. Dovzhenko. The article highlights the role of musical accompaniment in the restored 2012 version of the film “Earth” by the famous Ukrainian director of the twentieth century O. Dovzhenko. This is the first study in which, through the comprehension of the trinity of the samples of music, cinema, and literature, new meanings are revealed in musical compositions and the film, the relevance of the r

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Liermontova, Olena. "The sound image of the domra in V. Solomin’s works as a representant of the sound image of modernity." Aspects of Historical Musicology 21, no. 21 (2020): 293–308. http://dx.doi.org/10.34064/khnum2-21.19.

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Background. In recent years, there has been an increasing interest in research of global and pivotal changes of world’s sound image in musical art, this shift being incarnated in a tendency towards conception of new sound images of music instruments, which would be simultaneously relevant to new sound realm and being capable of “encapsulating” culture’s memory and experience. The domra, which is one of the carriers of this cultural memory, has its sound image transfigured in dimensions of academic, folklore, jazz and stage types of performance traditions in the works by V. Solomin. The objecti

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