Vol. 51 (2025)

Статті

• The Becoming of Oleksandr Koshetz’s Creative Individuality (Kyiv Period)

  Tetiana Husarchuk, Olga Volosatykh

  7-18

  • PDF (Українська)

• The Role of the Scientific and Methodological Heritage of Borys Mylych in the Formationof Ukrainian Piano Pedagogy of The Second Half of the 20th century (to the 120th Anniversary of his Birth)

  Tetyana Omelchenko

  19-33

  • PDF (Українська)

• The Significance of Lev Venedyktov's Creative Personality in the Development of Ukrainian Musical and Performance Art

  Oksana Letychevska

  34-43

  • PDF (Українська)

• Gustav Mahler—Reformer of Performing Arts: from Provincial Kapellmeister to Vienna Opera Maestro

  Oleksandr Zavolgin

  44-56

  • PDF (Українська)

• The Role of the Department of Opera and Symphony Conducting at the Ukrainian National Tchaikovsky Academy of Music in Preserving and Developing the Ukrainian Conducting School

  Dileaver Osmanov, Viktor Zdorenko

  57-64

  • PDF (Українська)

• Stylistic Features of Olena Chmut’s Harmonic Thinking (Based on Original Choral Compositions)

  Nadiya Selezniova

  65-76

  • PDF (Українська)

• Between Tradition and Experiment: the New Concerto Paradigm in Serhii Piliutikov’s Double Bass Concerto

  Myroslav Avramenko

  77-87

  • PDF (Українська)

• Directorial Innovations in Opera Productions Within the Theatrical, SiteSpecific, and Media Spaces

  Olena Kasyanova

  88-100

  • PDF (Українська)

• "Iphigenia in Tauris" by Kyrylo Stetsenko: Musical Dramaturgy in the Web of Mnemosyne

  Oksana Gorodetska

  101-112

  • PDF (Українська)