Ukrainian musicology

Visualization of Instrumental Scenes in Opera Performances

O. V. Kasyanova — 2024-12-24

Relevance of the study. In the 21st century, musical theatre undergoes rapid artistic and technological shifts shaped by digital innovation and transformed audience expectations. Within this context, instrumental scenes of opera productions gain increasing importance: they no longer serve merely as structural interludes but become significant vehicles for intensifying narrative expression, psychological depth, and visual impact in contemporary opera.

Scientific novelty and objectives. The novelty of the study lies in a comprehensive examination of instrumental scenes as independent objects of visual direction and in identifying their modern transformations through the synthesis of traditional expressive means and advanced digital technologies. The main objective is to determine effective artistic and innovative strategies for staging various instrumental episodes according to their dramaturgical function in opera.

Methodology. The research applies structural–dramaturgical analysis to classify instrumental scenes and define their functions; comparative analysis to distinguish historical and modern approaches; and directing/scenographic analysis to reveal mechanisms of visual realization. The study is based on detailed examination of selected productions that employ choreographic plasticity, multimedia, VR/AR tools, lighting palettes, and scenographic design. Comparing these examples allows identification of specific techniques that expand semantic density and enhance the dramaturgical significance of instrumental fragments.

Results and conclusions. The study establishes a consistent differentiation of instrumental scenes—overtures, introductions, preludes, entr’actes, interludes, postludes, choreographic and “silent” scenes—and outlines their contemporary stage interpretations. It demonstrates that the integration of plastic movement, media projection, holography, dynamic light-color scoring, and elements of digital theatre enriches dramaturgy, increases performative dynamism, and generates new modes of operatic expression. The conclusions highlight the trend toward a syncretic fusion of traditional and innovative expressive means and indicate promising directions for further research on the influence of digital technologies on opera in the 21st century.

Significance. The findings are valuable for musicology, directing studies, theatre pedagogy, and opera production practice, offering a theoretical foundation for rethinking the role of instrumental scenes within today’s visually oriented musical theatre.

Iconic Operas by Claudio Monteverdi in Productions by Leading European Directors 2010–2024: a Dialogue of Traditions and Innovation

V. I. Nikolaenko — 2024-12-24

Relevance of the Study. Claudio Monteverdi’s operatic legacy remains central to the formation of the European opera genre and continues to stimulate intensified directorial reinterpretations in contemporary music theatre. In the early 21st century, leading European directors increasingly returned to Orfeo, Il ritorno d’Ulisse in patria, and L’incoronazione di Poppea, generating new artistic concepts and reactivating the debate on the balance between tradition and innovation. Despite the wide spectrum of productions, a systematic theoretical examination of these interpretations within today’s European cultural context has not yet been sufficiently developed.

Main Objectives and Scientific Novelty. The study offers a novel systematic analysis of Monteverdi’s opera productions during 2010–2024, interpreted through the dialogue of “traditional vs innovative” and correlated with the aesthetic and ideological principles of German Regietheater. The objective is to reveal the specific features of directorial approaches to Monteverdi’s operas in contemporary European theatre.

Methodology (how the study was done). The research applies comparative analysis of video materials, production notes, scenographic decisions, and dramaturgical structures of modern stagings. Directorial and musicological analysis allowed identifying the interaction between the score and the staging concept; interpretive-stylistic methods revealed traditional and innovative components; contextual analysis positioned artistic strategies within Regietheatertheory. The results were obtained through a step-by-step examination of the directorial logic of productions by P. L. Pizzi, R. Carsen, D. Hilsdorf, P. Audi, and O. Fredy.

Results, Findings, and Conclusions (significance). The study identifies two prevailing directorial strategies: the “bottom-up” approach, based on internal dramaturgy and character psychology (Carsen, Audi), and the “top-down” approach, driven by a conceptual or ideological framework (Hilsdorf). It demonstrates how Regietheater techniques may radically shift the opera’s semantic core, recontextualizing it for modern audiences yet risking a rupture with its historical background. Productions by Fredy and Audi illustrate the current trend toward intellectualizing early opera and seeking new forms of emotional resonance. The significance of the findings lies in highlighting contemporary models of interpreting Monteverdi’s operas, contributing to their understanding within musicological research, artistic practice, and modern opera education.

A. Rudnytsky's Opera "Anna Yaroslavna - Queen of France" in the Historical Paradigm of the Director's Reading of the Work

I. O. Suvorova — 2024-12-24

Relevance of the study. Ukraine’s current integration into the European cultural space intensifies the need to reassess national artistic heritage through contemporary theatrical approaches. Antin Rudnytskyi’s opera Anne of Kyiv – Queen of France represents a valuable historical-musical narrative that resonates with present-day sociocultural challenges. Investigating its directorial reinterpretation within the artistic paradigm of the 21st century responds to the growing public demand for meaningful representations of national history.

Main objective(s) and novelty. The novelty of the study lies in rethinking directorial strategies for staging a monumental historical opera of the late 1960s in alignment with the aesthetic and technological possibilities of the modern musical theatre. The aim is to define and substantiate the key components of the author’s directorial model, correlate it with the composer’s original vision, and demonstrate the potential of an innovative symbolic-interpretative approach.

Methodology (how the study was done). The research employs an interdisciplinary methodology combining musicological, theatre studies, and cultural analysis. Dramaturgical examination was used to compare narrative and conceptual elements of the opera with the director’s intention. Structural-scenography analysis revealed mechanisms for constructing the spatial-plastic concept of the performance. Comparative analysis enabled evaluating differences between historically accurate and postmodern approaches to staging historical operas. The practical modelling of directorial solutions allowed obtaining concrete results applicable to contemporary staging.

Findings and conclusions. The study identifies that the proposed directorial interpretation relies on a synthesis of traditional operatic techniques and symbolic scenography, emphasizing dynamic visual transitions that reflect the opera’s ideological evolution. The comparison with Rudnytskyi’s concept confirms adherence to the core dramaturgical principles, with selective reductions of mass choral and ballet scenes. The historical perspective—highlighting Anne of Kyiv’s influence on political and cultural transformation in France—serves as the axis of the directorial reading and reinforces the theme of moral responsibility and female leadership. Significance. The findings contribute to the development of contemporary Ukrainian opera staging practices, stimulate renewed interest in national historical subjects, and offer an applicable model for integrating traditional and innovative expressive means within modern musical theatre.

Principles of Reforming Music and Educational Directions in Ukrainian Musicological Thought on the Vector of Cultural and Educat

M. D. Kopytsya — 2024-12-24

Relevance of the study. Modern transformations of the Ukrainian cultural and educational space, caused by the war and the renewal of the concepts of reforming art education, actualize the need to analyze the historical and methodological foundations of the formation of musical and educational directions. The issues of leadership, creativity, academic integrity, decolonization and reinterpretation of the biographies of Ukrainian artists become especially significant.

Main objective and scientific novelty. The article introduces a comprehensive perspective on music education reform through the historical and contemporary experience of the Tchaikovsky National Music Academy of Ukraine. Its aim is to define key principles for modernizing music-educational programs and to demonstrate the significance of a decolonial re-reading of Ukrainian musicians’ life-writing, including that of O. Kozarenko and P. Petrov-Omelchuk.

Methodology. The study employs historical analysis of archival testimonies describing the Academy’s work during the crises of the 20th–21st centuries; a comparison of the Ministry’s reform concepts with the Academy’s practical pedagogical strategies; discourse analysis of institutional leadership cases and conflict-resolution models; and a comparative examination of biographical narratives through decolonial research methods.

Results. The research demonstrates that the Academy has consistently acted as a resilient cultural and educational centre - from the upheavals of 1917–1920 and World War II to the Revolution of Dignity and the current full-scale war. It shows that contemporary reform principles (leadership, innovation, flexibility, dialogue culture) are already embedded in institutional practice. The study substantiates the necessity of revising Ukrainian artistic biographies distorted by colonial perspectives and restoring these figures to the national cultural canon. The significance of the findings lies in outlining effective strategies for modernizing music education in Ukraine, strengthening cultural identity, supporting youth creativity, and enhancing the role of artistic institutions during periods of social crisis.

Virtuosity and Melodiousness in the Works of Georg Edward Holterman: Methodological Significance for Modern Musical Pedagogy (To the 200th Anniversary of His Birth)

D. V. Viter — 2024-12-24

Relevance of the study. Goltermann’s creativity is important because it was aimed at developing the technique of playing the cello, the mastery of which made it possible to perform complex works. Today, Goltermann and his contemporaries have been mostly forgotten, that limits not only the cello repertoire, but also the method of learning to play the instrument, requiring the updating of Goltermann’s works in modern music pedagogy and cello teaching methods.

The main objective of the study is discursive actualization of Goltermann’s creativity in modern music pedagogy and cello teaching methods. The scientific novelty: Goltermann’s creativity in modern music pedagogy and cello teaching methods in domestic context is actualized. The methodology of the article is based on biographical, structural-functional, genre-stylistic and intonation-dramaturgical methods of analysis.

The results and conclusions. Melody, brightness and technicality are the main characteristics of Goltermann’s works. He managed to express so many different emotions and characters in his music that almost every piece of his works can satisfy the pedagogical and methodological requests of teachers and students. In his works, the artistic idea of a musical piece is clearly manifested in the technique of performing arts. That is why Goltermann’s works can give amateur cellists and beginners the opportunity not only to master the technique (although in this they certainly cannot compete with purely technical etudes), but also to provide a general idea of performing art. This is the indisputable advantage of Goltermann’s works in comparison with to typical exclusively technical etudes, often schematized and formalized exercises. The result of the pedagogical and methodical content embedded in Goltermann’s works (implemented in Grützmacher’s approach, which gave priority to the development of performance skills of the aesthetic and artistic side of a musical piece) is that students overcome anxiety about performance, which enables cellists of all levels and abilities to perform. contributing to the formation of a full-fledged and comprehensively developed musician. Today, many of Goltermann’s works can legitimately serve as teaching aids for both experienced performers and beginner cellists.

Genre Innovations in the Fields of Romanticism: Lullaby-Berceuse and Dumka

K. I. Shamaeva — 2024-12-24

Ukrainian musical art of the late 19th — first half of the 20th century constitutes a wide field for the application of modern scientific positions in its current understanding. In addition to the fact that there are still no detailed, documented biographies of many creative community representatives of those days, intercultural contacts (their spectrum expanding, revising the usual understanding of their essence, etc.) are no less extensive field for native scientists activity. Therefore, an attempt to comprehend some of the unpredictable ways of spreading and imitating the romantic tradition in Ukrainian musical culture, in particular through unexpected points of contact and intersection of the creative paths of Fryderyk Chopin, Juliusz Zarębski, Aleksander Michałowski and Viktor Kosenko, seems quite relevant and innovative. Returning to the native context of artists who are inextricably linked to Ukraine by circumstances of life and creativity is also becoming a ripe topic of modern research. As well as overcoming the distorted vision of many figures and phenomena of Ukrainian musical culture, in particular in the aspect of considering them outside any pan-European perspective.

Undoubtedly, it cannot be a final thorough study of all aspects of the genre renewal of instrumental music that took place in the era of Romanticism. The purpose of the proposed investigation is, first of all, to demonstrate the deep kinship and continuity of genre preferences of three representatives of different stages of that artistic preferences precisely in the stream of romantic genre differentiation, but at the same time not rejecting the nuances of the genre content in the creative situation of a particular time. The criteria for uniting the three artists, in addition to the nature of the artistic worldview, the specificity of pianism (after all, all are bright pianists-performers with a predominance of piano music in their work), the tragic circumstances of a short life, etc., may also be a connection with the Volyn region, in many aspects important for understanding the specific issues.

The research methodology is based on the application of a comprehensive interdisciplinary approach, biographical, historical-typological and comparative methods, source analysis, elements of complex musicological analysis, etc.

Findings and conclusions. The proposed study of the internal kinship and continuity of genre preferences of three representatives of different stages of Romanticism, of course, cannot be a final thorough study of all aspects of the genre renewal of instrumental music that took place in that era. However, it proves the viability of the mentioned genres, their thorough coverage of artists of the Romantic era and its continuation in the twentieth century through the figures of Aleksander Michałowski and Viktor Kosenko. The world of thought as a manifestation of the “genetic code” penetrated the work of all artists who in different ways fell into the sphere of its aura of influence, regardless of the means of expression (word, color and line, intonation, melody) and the scale of creativity — from amateurs to creators-geniuses.

Compositional Structure of Arthur Honegger's Antigone as the Foundation of the Artistic Integrity of the Opera

M. S. Antonova — 2024-12-24

Relevance of the study. Arthur Honegger's opera Antigone is a relevant and essential work both for the composer's oeuvre and for early twentieth-century musical theatre as a whole. The multilayered compositional structure of the opera and its symphonic organization correspond to the contemporary search for new forms in music and theatre. Antigone demonstrates the possibilities of integrating traditions with the latest approaches to music drama, making it important not only for musicology but also for the development of contemporary theatre.

The scientific novelty is in the analysis of the structure of the opera Antigone with a special emphasis on the study of its multilevel form, the role of the chorus as an active participant in the action and the leitmotif system that forms the dramatic integrity of the work. This issue is presented for the first time in the Ukrainian-language academic space.

Main Objective(s) of the Study is to analyze the multilayered form of Arthur Honegger’s opera Antigone, focusing on how its intricate structure contributes to the artistic unity of the work.

Methodology. The research employs several methods, including genre-genetic analysis, historical and comparative approaches, and holistic analysis for studying the structure of the opera. The study also delves into the evolution of the leitmotif system, exploring how Honegger uses complex musical motifs to provide narrative continuity.

Results of the study. The compositional structure of Arthur Honegger's Antigone is an example of an expressive and multifaceted form that serves as a cornerstone for the creation of a single musical composition. Its complex internal architecture creates a solid foundation that enables a deep interaction between the musical structure and its thematic and philosophical layers.

An important element of the opera is its close connection with ancient Greek tragedy. While maintaining the key role of the chorus in the opera's structure, Honegger not only adheres to the traditional forms clearly defined in the score, but also introduces a more subtle compositional layer that resonates with the essence of classical Greek theatrical conventions.

The defining characteristic of the opera is its symphonic development, which ensures the integrity and continuity of the musical narrative. This integrity is achieved primarily through the use of a complex system of leitmotifs, which performs an integral function by combining numerous multifaceted layers of the opera's compositional structure. However, the presented structure embodies not only constructive composer's ideas, but also reflects Honegger's philosophical search for rethinking the categories of time, action and music within a musical and theatrical work.

The obtained results underline the significance of the opera Antigone for the cultural world, as the presented work reveals a new stage in the evolution of the opera form and its role in the embodiment of contemporary philosophical ideas.

Hans von Bülow and His Role in the Formation of the Conducting School: Musical Innovation and Performing Mastery

O. V. Zavolgin — 2024-12-24

The creative path and peculiarities of interaction with the group of performers through the use of unique skills and methods of influence of the talented conductor-interpreter of the German romantic school of the second half of the 19th century, Hans von Bülow, were studied. There is an urgent need to highlight the moment of emergence and further development of a new field of musical performance — and to separate the profession of a conductor-performer into an independent branch. Attention is focused on the features of a new approach to managing a creative team, which was proposed by the first professional conductor-interpreter Hans von Bülow. The factors that separate the profession of a conductor-interpreter from the generally accepted profession of a composer-conductor are determined. The components of the methods of the conductor's influence on the group of performers and the peculiarities of the interpretation of musical material by a professional conductor are considered and substantiated. The emergence, formation and further directions of development of the conducting profession in the personalities of the successors and students of the outstanding musician are determined. The scientific novelty of the article consists in determining the process of formation and development of a professional conductor in the person of a bright representative of the German romantic school of the end of the 19th century, the inheritor of the traditions of the German conducting and conducting-composing heritage of R. Wagner, H. Berlioz and F. Liszt — H. von Bülow, who organized and improved the process of pre-concert rehearsal preparation, establishing certain principles and methods that influenced the further development of the conductor-performer profession.

Statement of the problem. The formation of any link of musical performance has a moment of its birth. The profession of a professional conductor, which is included in the direction of “conductor performance”, is quite young. And it is in the process of the appearance of a professional musicianinterpreter, who takes responsibility for distinguishing the conductor-interpreter way of conducting from the conductor-composer way of managing a team and the separation of the independent profession of a conductor-performer that is the main problem of consideration of this topic. The emergence of the profession of conductor-performer was led by the outstanding German conductor of the second half of the 19th and early 20th centuries — Hans von Bǘlow. It was he who formed an authoritative view of the established composer-conductor management style and transferred it to the plane of purely conductor-interpreter management.

Analysis of recent research and publications. Recent years have shown a growing interest in studying the peculiarities of the formation of the conducting profession in the person of professional conductors who stood at the roots of its origin. The figure of Hans von Bülow is one of the most popular in the discussion of this issue. There is probably not a single publication that, covering the history of conducting performance, would not choose the German conducting romantic school as the object of its research.

However, the majority of scientific works are based, for the most part, on superficial or general statements and facts, focusing on the bibliographic component, and as for professional activity, they focus on the definition of well-known principles and methods of work inherent in all representatives of the German romantic school of the second half of the 19th century — the beginning of the 20th century.

Given the conductor's ethnic origin, most research is concentrated in German publications: in particular, the global work of the well-known Anglo-Canadian musicologist and professor Alan Walker “Hans von Bülow” “A Life and Times” (Alan Walker “Hans von Bülow” “A Life And Times”, Oxford University Press, New York 2010 (1568), in which the author consistently and in detail tells about the life and creative path of the outstanding conductor, focusing in separate sections on his direct conducting and concert activities.

The book of the famous German conductor, head of the opera school at the Karlsruhe University of Music, musicologist and researcher Frithjof Haas Life and work of Hans von Bülow, in which the author presents the biographical data and memories of contemporaries of the outstanding maestro in an accessible form.

It is impossible to ignore the work of the German pianist, which examines more than 70 works of eight outstanding piano composers and in which you can hear first-hand information and personal views of maestro Bülow on the performance of individual works and highlights views on the composers' personal style.

The book of the famous German historian, teacher, professor of Heidelberg and Munich universities, author of biographies of Otto von Bismarck and Cosima Wagner - Count Richard-MariaFerdinand-Moulin-Eckart reveals the life and creative path of Hans von Bülow in detail. The large volume of material, citations, correspondence of the conductor and presentation of information by periods of life and creativity really attracts attention. This in-depth work, published immediately after the death of the famous conductor, is quite valuable material for research.

In modern Ukrainian musicology, this topic is presented in the dissertation studies of Authoritative authors here consider the figure of Hans von Bülow in the context of historical discourse, without delving into the details of personal methods and methods of his professional conducting approach, individual views on the formation of the conducting profession.

The purpose of the article is to reveal and highlight the main features of the concert performance of the famous representative of the German romantic school of the second half of the 19th century, Hans von Bülow, in the context of an innovative approach, and the formation of a new independent direction of musical performance - conductor performance.

Organological Peculiarities of the Development of the Violin: European and Ukrainian Experience

N. O. Mironova — 2024-12-24

Relevance of the study. Organological research on the violin remains one of the most dynamic fields of contemporary musicology, integrating historical, acoustic, and performanceoriented perspectives. In the context of renewed interest in national traditions, the analysis of Ukrainian makers’ contributions to European lute-making and violin building is gaining significance. The study is relevant for refining the broader European narrative of violin development and for enriching current organological methodologies.

Main objectives and scientific novelty. The novelty lies in a comprehensive comparison of the violin’s technical evolution across Italian, French, German, and Ukrainian traditions, combined with the introduction of underexplored Ukrainian sources into the European discourse. The study aims to reconstruct the organological foundations of the instrument’s development and to determine the role of “maker–performer” communication in shaping performance style and technique.

Methodology (how the study was done). The historical-comparative method was applied to juxtapose structural features of violins from various schools through the analysis of archival descriptions, makers’ catalogues, and preserved instruments. Morphological examination enabled systematic documentation of body proportions, top-plate construction, varnish types, and bow design, followed by a generalisation of their evolution over time. Elements of discourse analysis were used to trace how treatises and correspondence between makers and violinists formulated expectations regarding sound, timbre, and technical capabilities. Within the cultural-historical approach, the study explored correlations between artistic demands, social conditions, and structural modifications of the instrument.

Results, findings, and conclusions (significance). The research establishes that the modern violin emerged through extensive organological experimentation shaped by the dialogue between master makers (Amati, Stradivari, Vuillaume) and performers whose evolving technical demands stimulated innovation. It demonstrates that nineteenth-century bow reforms and changes in string tension enabled virtuoso performance practices and expanded repertoire possibilities. The Ukrainian tradition, though historically influenced by several European schools, developed its own constructive innovations, acoustic models, and aesthetic principles. The significance of the study lies in deepening the interdisciplinary understanding of violin organology and highlighting the Ukrainian contribution to the development of European instrumental culture.

Images of Nostalgia in Mykola Lysenko's Opera "Nocturne"

O. Yu. Semenets — 2024-12-24

Relevance of research. The subject of the study in the article is nostalgia, as one of the features of the modernism era of the late XIX - early XX century. The material for analysis is the selected work of M. Lysenko "Nocturne".

Main objective of the study – to analyze the musical material of the opera, the libretto, the heroes of the opera and to identify nostalgia in it.

Methodology of research. The images of the heroes of the opera, features of the embodiment of specific characters through their musical characteristics are considered. The connection of the whole work with the help of waltz, which permeates the entire work and is an important feature of the opera, is revealed. Also the connection of all fantastic characters, the commonality of their figurative characteristics is emphasized.

Main findings of the study. Opera by M. Lysenko "Nocturne" is a vivid example of the chamber genre and the incarnation of nostrils in it. The main signs of nostalgia in Lysenko's opera are the first – this is the most reproduced day – past noble times, which Lysenko himself remembered, because he was of noble origin. The second one is the flair that penetrates the entire work and is reproduced in the parties of Tsvirkun and Tsvirkenny, Panny and Officer. Waltz was a kind of "code" of the past, XIX century. The third – the image of the Bacchante - a mythological image, known from ancient Greece, emphasizes not only nostalgic features, but also modernist ones. The presence of Bacchante in the opera Nocturne speaks of the features of neoclassicism in the work. Fourth – the reproduction of the ancient salmon-noble musical life (romance, love aria, melancholy waltz) in the parties of Panny and Officer. Fifth, the name of the opera is "Nocturne" – Lysenko reproduces the association from the XIX century as a nocturne, a genre that was redefined in the era of romanticism, as a solo instrumental play of lyrical character before all in the work of J. Fiddle, F. Chopin, F. List. Sixth – the atmosphere of the whole work, gentle, melancholic, nostalgic and very elegant, simple musical language, fantastic images involuntarily cause a sense of nostalgia for the past, even to a contemporary listener, a past we personally did not know

Melodramas for Piano by Richard Strauss: Specifics of the Transformation of the Genre (to the 160th Anniversary of the Composer's Birth)

A. Speka — 2024-12-24

The creative heritage of the outstanding German composer, conductor, theoretician and teacher, cultural and public figure Richard Shtrauss (1864–1949) is considered in the aspect of its modern art studies. Features of the composer's musical style, primarily program music and musical aesthetics of his piano works «Enoch Arden» and «Castle by the Sea» are highlighted. Comparative, historical-logical approaches and methods of musical-interpretive analysis are applied, including a comparison of stylistic and intonation features of works of the genre of melodrama in the works of R. Shtrauss. For the first time, the symphonization of R. Shtrauss' melodramas was analyzed, where the music acquires an independent dramatic content and a corresponding structural composition. The composer’s innovative approach to the interpretation of the melodrama genre is revealed, revealing the author's innovative approaches to thematism, musical dramaturgy and structure, symphonization of the development and transformational features of the genre.

The purpose of the publication is to reveal the features of the symphonization of melodramas for piano in the works of Richard Shtrauss. To take into account that in his works music is not limited to the function of accompaniment (accompaniment), but becomes a full-fledged dramatic element that develops the plot and helps reveal the psychological experiences of the characters. Continue the analysis of R. Shtrauss's melodramas, which allows us to reveal innovative approaches to thematism, structural organization of music, and the interaction of musical themes with the literary primary source, which expands the idea of the composer’s contribution to the development of piano instrumentalism. The melodramas of R. Shtrauss «Enoch Arden» and «The Castle by the Sea» are important examples of the evolution of the genre of melodrama in piano music of the 20th century. They reflect not only the traditions of pop and concert melodeclamation, but also demonstrate new approaches to the construction of musical material. R. Shtrauss reformed the genre, creating works that have an independent symphonic logic of development. His music for melodramas is characterized by complex thematic content, tonal dramaturgy, and the use of contrasting themes symbolizing different aspects of the plot. Melodramas expand the repertoire of modern pianists, offering new tasks for performers who need a mastery of technique and a sense of the drama of music. For the performers of R. Shtrauss' melodramas, it is a difficult task, as they require an understanding of intonation logic, accurate reproduction of thematic transitions, and work with agog. Musical themes require various technical techniques, which makes melodramas interesting for theoretical study and practical performance.

In memory of the composer, the Richard Shtrauss Festival of Classical Music (Richard Shtrauss Festival) is held every year in the estate of Garmisch-Partenkirchen (a city in the district of Upper Bavaria in southern Germany), where the music of R. Strauss is performed by famous conductors, orchestras and performers for a week. Further research requires an art analysis of other piano works by R. Shtrauss and their role in the development of chamber music of the 20th century. There is also a need to investigate the aesthetic basis of R. Shtrauss’ work and the specifics of the transformation of genre traditions, considering the interrelationship of musical and literary forms, as well as their influence on modern trends of musical and stage drama in Ukraine and the world.