Scientific herald of Tchaikovsky National Music Academy of Ukraine

Ukrainian poetry as a factor in national style formation in popular music genres

Violetta Artemenko — 2025-09-13

The relevance of the study. Current historical circumstances in Ukraine are heightening Ukrainians' curiosity about their own history and art. Using the example of individual songs of modern pop music publication examines to outline and specify poetic sources for musical creativity in mass genres modern Ukrainian pop-culture, as well as to clarify the possible influence of poetry on the dynamics of national style formation in the specified context.

The main objective of the study is a Ukrainian poetry from various historical periods, including modern times, which inspires Ukrainian artists to be creative and actively artistically reflect on their own history and national musical style of speech in particular.

The methodology includes the following methods: culturological (to characterize the basic features of the national style), structural-functional, genre, intonation-dramaturgical (for a holistic analysis of works), as well as the method of theoretical generalization (to summarize).

The main results and conclusions. The high role of Ukrainian poetry as a strong stimulus for the manifestation and renewal of national features of musical creativity in formalized formats of the genre (style) is noted. Several groups of poetic sources are identified that serve as the basis for musical search. Several examples of the work of various performers are analyzed for the characteristic reproduction of features of the national poetic and musical style. The song “Gai Shumlyat” by the group “Pyrih i Batig” on the verses of P. Tychyna from the album “Poetic” (2016) is considered. The songs “Haltorna” by A. Pivovarov based on poems by L. Kostenko, “V nebi chistomu chuty grym” by Skofka, “Ne hody ti tut, ne hody” by Vivienne Mort based on poems by Maxim “Dali” Kryvtsov are analyzed. In addition, a number of songs by famous modern groups and performers are listed, demonstrating the active dynamics of the creative style in popular music precisely in the context of national principles. The following factors are determined as the main substantive and stylistic trends: the well-known influence of the poetic series itself on the musical series and as a result - the increase in declamation and role text, the strengthening of the dramatic element.. The second important feature in the style of creation is the direct influence of the poetic tradition on the emergence of such a genre as "incantation" in popular musical culture. At the same time, it is emphasized that a bright general feature of the national musical style of creation in pop culture is considered to be the active development of the national intonation fund, ranging from folk singing practices to folk poetic texts, musical texts, intonation thesaurus and folk instruments in general. And with all this, Ukrainian pop music clearly walks in the same vein with world trends in techno, or electronic music, or other stylistic branches

INTERMEDIAL VECTOR IN THE CREATIVE SEARCH OF CONTEMPORARY TURKISH COMPOSERS

Daryna Kupina — 2025-09-13

The relevance of the study. The article addresses a documented gap in Ukrainian musicology by foregrounding contemporary Turkish art music as an autonomous field of artistic thinking shaped at the intersection of makam modality, usûl metrorythm, microtonality, and European compositional techniques. It approaches this repertoire through intermedial discourse, with a special focus on musical ekphrasis as a non-illustrative, intersemiotic mode of translation.

The main objective of the study is to delineate the pathways of intermedial translation by which visual images are recast into the musical works of 21^st century Turkish composers as projections of an alternative worldview. The theoretical foundation draws on studies S. Bruhn, L. Goehr, O. Hilewicz, А. Krawiec, among others, which delineate the methodological horizons of intermediality and intersemiotic translation.

The methodology combines intermedial and holistic approaches with contextual and parameter-based analysis (modal/metrical organization, timbral-textural morphology, and sonorous processes) in order to specify the channels of transmedial transfer.

The main results and conclusions. It has been proven that academic music of Turkey in the 21^st century is formed at the intersection of several cultural traditions; however, its conceptual foundation is defined not so much by the assimilation of European models as by a worldview rooted in the makam system, the rhythmic organization of usul, and the ornamental continuity of the melodic line. In this cultural context, intermediality emerges as a key mechanism of reinterpretation: it enables the transformation of architectural, poetic, and plastic images into musical parameters of time, timbre, and texture, thus opening for the listener new horizons of the Eastern sonic reality. Musical ekphrasis is understood here as an intersemiotic translation of a visual “text” into a sonic syntax that preserves or structurally reconfigures the compositional and/or syntactic invariants of the source. Against this backdrop, Türkmen’s Hat exemplifies an endogenous, structurally modelled ekphrasis: the calligraphic paradigm of the line is transformed into a monophonic, continuous trajectory articulated by makam gravitations and a characteristic metric pulse; unison isophony, timbral “thickening” of single tones, microchromatic inflection, and heterophonic layering operate as acoustic analogues of the calligraphic stroke, with form conceived as the “motion of the line” rather than a pre-fabricated architecture. By contrast, Özbayrak’s The Monk by the Sea realizes an exogenous, sonorous type of ekphrasis: Friedrich’s horizon is recoded as a pedal monotone (drone), the painting’s “air” as an aeroacoustic sonority; microtonal inflections, controlled vibrato, and spectral friction shape a “wave dramaturgy,” while onomatopoeic figures (seagull cries) and contrabass sfz cues create an intermedial “double exposure” with a localized soundscape. Together, these cases articulate two operative principles of transmedialization - structural modelling and environmental sonorous modelling - thus extending the analytical apparatus for musical ekphrasis and enabling non-European repertoires to be discussed without recourse to reductive notions of illustrative program. At the same time, the study helps to remedy the documentation deficit surrounding Turkish materials by introducing two representative case studies and demonstrating how local Eastern intonational codes and European iconic images co-operate within current compositional practice.

PHENOMENA, NOUMENA, AND “TRIGGERS” OF MUSICAL STYLE FORMATION

Olha Katrych — 2025-09-13

The relevance of the study is explained both by the lack of conceptual studies in contemporary musicology devoted to the dramaturgy of style formation and by the fundamental role of style-related issues in musical art.

The study focuses on the processes of musical style formation. A spectrum of interactions between musical and extra-musical factors that determine the shaping of style in music is examined. The ontological foundations of sound–intonation production of stylistic phenomena are conceptualized, and the genealogy of sociocultural mechanisms inspiring stylistic processes is traced. The analytical lens of the research is musical communication, which encompasses the continuity of the “creation — reproduction — perception” chain in music and takes into account the socio-historical context of stylistic formation.

Main objectives of the study is to deepen the understanding of the ontology and genesis of the system of musical style formation.

The methodology combines the concepts of V. Moskalenko’s theory of musical creativity style and the author’s own conception of performing-musician style. The research applies a complex methodology integrating historical–dialectical and musicological approaches, discourse analysis, theoretical generalization, comparative musicology, as well as methods of analysis and synthesis.

The main results and conclusions interpret style formation as a systemic phenomenon of procedural nature, whose concentric structure is conditioned by the interrelation of stylistic levels (epochal style, historical-period style, school style, national style, individual style, and the style of a particular work) and the continuity of musical-communicative mechanisms of creation, reproduction, and perception. In light of current music-interpretative discourse, perspectives for the future dynamics of musical style formation are outlined.

TIMBRE ALLUSION AS A CONDITIONAL STYLIZATION ОF SONORITY

Boryslav Stronko — 2025-09-13

The Relevance of the study is conditioned by the specific ploblem of timbre allusion as a result of the interaction between actual sound and the sound associations of performer and the listener, intentionally evoked by the composer.

Тhe main objective of the study is to highlight the distinctions between this phenomenon and related concepts such as timbre coloring and illusory timbre, thereby refining the relevant musicological terminology.

The methodology is based on methods of textual analysis in music and, especially, comparison. How the study was done: was analyzed a series of illustrative examples from piano and symphonic literature, with engaging of significant analogies between playing styles of different types.

The main results and conclusions. The use of timbre allusions is noted starting from 18thcentury music, with their purpose not being the literal reproduction of other timbres, but rather a symbolic reference to them. The study reveals such means of actualizing timbre allusions as articulation, rhythm, register, intervallic structure and playing manner typical to other instruments. In general, it refers to a style of music-making reconstituted by sound means of the original instrument as a basis for association with an absent timbre. Consequently, this style is defined as a timbreintonational thesaurus shared among the composer, performer and listener — an intersubjective factor essential for a holistic perception of a music composition. Special attention is paid to the role of time in timbre allusion — as an appeal to a common past of composer, performer and audience, as well as to the isomorphism of temporally distinct events.

Тhe timbre allusion engages not only actual sound in the realm of artistic influence but also the individual and collective experience of perceiving musical works across stylistic, genre, and technical diversity —i.e. memory space. The significance of the study onsists of further and deeper conveying of interactive side of musical timbre perception.

As a perspective, two main directions are outlined for further research on the topic: external and internal. The first of them relates to the real-acoustic enriching of a musical instrument’s sound influenced by the timbres of other instruments. The second of them focuses on the dual-level perception of the timbre-intonational domain of music and the interactive relationship between the musical work and the listener.

THE SPECIFICITY OF GUO WENJING’S MUSICAL STYLE (ON THE EXAMPLE OF THE OPERA «POET LI BAI»)

Daria Hnatiuk — 2025-09-13

Relevance of the study. In the contemporary globalized civilizational space, established cultural and spiritual-practical stereotypes acquire symbolic functions. The conscious artistic reinterpretation of folklore within the framework of modern stylistics has become one of the most characteristic features of Chinese composers of the late 20th and early 21st centuries. A special place in their creative explorations is occupied by the operatic genre. The creative output of the representatives of this trend, particularly Guo Wenjing’s opera Poet Li Bai, defines the trajectory of the development of Chinese opera and introduces new aesthetic concepts into the existing vocabulary of Western theatrical-dramaturgical models, which determines the relevance of the present study.

Main objective of the study is to explore the specificity of the creative method underlying Guo Wenjing’s individual style, using the opera Poet Li Bai as an example.

Methodology includes the following methods: analytical, comparative, cultural and interpretive.

Results and conclusions. Factors of mental origins and the neo-folkloristic orientation of Guo Wenjing’s compositional style are identified. On the example of Guo Wenjing’s opera Poet Li Bai, it is demonstrated how profound philosophical concepts and artistic principles of traditional Chinese art acquire a new form of existence within contemporary musical drama, becoming the basis of dramaturgical solutions and multifaceted metaphorics at the levels of the character system, musical language, and stage interaction. It is established that the dramaturgical structure of the opera Poet Li Bai relies on the mosaic principle, which creates a multidimensional image of the artist. Such a model allows the opera to be interpreted not as a linear illustration of historical events but as an artistic reflection on the spiritual path and creative identity of Li Bai. Through the analysis of the stage embodiment of three key images — Moon, Wine, and Poetry — in their interaction with the protagonist, the mechanisms of the alienation effect, used by Guo Wenjing as the basis of the dramaturgical composition of the opera, are identified and substantiated. It is traced how abstract ideas are embodied in concrete stage forms, enter into dialogue with the poet, and return to the symbolic sphere, creating a complex system of communicative relations between stage and audience. It is revealed that the manifestation of cyclicity, one of the fundamental categories of Eastern philosophy, attains the status of a key structural principle of the composition. On the basis of the analysis, the specific traits of Guo Wenjing’s musical style are defined, which consist in the avoidance of academic clichés, the constant striving for creative renewal, the active use of the symbolic nature of intonations, and the aspiration for a profound disclosure of the inner world of the protagonist.

POLYPHONY OF UKRAINIAN BAROQUE PARTES IN THE LIGHT OF THE MEDIEVAL THEORY OF MODALITY

Olha Shumilina — 2025-09-13

Relevance of the study. The traditions of Ukrainian partes singing, which developed in the East Slavic territories during the 17th and first half of the 18th centuries, have been studied widely and in various ways, however, some issues still remain unresolved. One of them is the influence of the medieval theory of modality on the pitch organization of polyphony in partes singing.

Main objective(s) of the study. The purpose of the article is to review the main provisions of the medieval theory of modality in its projection on the polyphony of Ukrainian partes singing.

The scientific novelty consists in identifying manifestations of medieval modal theory in the polyphony of Ukrainian partes, which affected the specificity and main features of partes art.

Methodology. The methodological basis is made up of general scientific methods: study and generalization, abstraction and formalization, systematic analysis and synthesis.

Results / findings and conclusions The main provisions of the medieval theory of modality, which became the basis of polyphony in church music of the Middle Ages, the Renaissance, and partly the Baroque, are studied. The main features of this system, which were described in the works of famous European theorists (Guido d’Arezzo, H. Glarean, G. Zarlino, etc.), are indicated. The influence of the main provisions of the medieval theory of modality on Ukrainian partes polyphony, which represents the Baroque era, is revealed.

In the process of analyzing the main provisions of the medieval theory of modality in their projection onto the features of Ukrainian baroque partes, the main attention was paid to the system of hexachords, on the basis of which polyphony was formed with the dominance of interval and triadic consonances, modal tonality, formed on the basis of natural-mode mesatonic in its projection onto the polyphonic vertical, specific types of cadences that arose under the influence of the time organization of musical compositions of vocal polyphony of a strict style and had modal chromaticisms and dissonant consonances, the issue of the weakness of the tonal center and functional connections between triads, etc.

The material for the study was the discovered four-part concertos by Mykola Dyletsky.

«FEAST OF TRUMPETS» BY YEVHEN STANKOVYCH: MONOTIMBRICAL ENSEMBLE AS A SPACE FOR CREATIVE EXPERIMENTATION

Yurii Fyk — 2025-09-13

The relevance of studying «Feast of Trumpets» for 16 unaccompanied trumpets by Ye. Stankovych lies in its representation of a hypothetical space for the author’s daring creative experiment with a monotimbral ensemble. This aspect organically correlates with the composer’s profile, distinguished by an integrative approach to genre and style, where timbral solutions emerge as one of the key expressive means. Within the broader context of Ye. Stankovych’s oeuvre, his chamber music often serves as a unique «laboratory» for testing innovative compositional solutions.

The main objective of the study is to investigate the monotimbral ensemble as a space for creative experiment in «Feast of Trumpets» by Ye. Stankovych.

The methodology includes the following methods: a systemic approach (for analyzing the work as a holistic artistic system); music-theoretical (for studying the harmonic, melodic, rhythmic, and textural organization of the piece); instrument-specific (focused on researching the specifics of trumpet usage within a monotimbral ensemble, identifying extended performance techniques and their impact on the sonic palette); and a hermeneutical approach (used for a deeper understanding and interpretation of the compositional intent).

Despite its classification as a chamber work, confirmed by its placement in the composer’s catalog and the absence of a mandatory conductor (though existing recordings often feature one, highlighting its orchestral and monumental qualities), «Feast of trumpets» represents a unique example of an experiment with a monotimbral ensemble. The composition for sixteen trumpets is an unusual phenomenon, as such a concentration of instruments from a single timbral group is rarely encountered even in large brass orchestras. The score of «Feast of trumpets» utilizes eight staves, with each pair of trumpets primarily playing in unison, creating a powerful and rich sound. Some episodes are marked by the composer’s «divisi» remark, introducing timbral and textural variety into the ensemble’s monolithic sound. The work’s duration, under five minutes, formally categorizes it as a small musical form. However, the profoundness of its concept, the monumentality of its sound fabric, and its strong emotional impact on the listener unequivocally allow it to be characterized as a micro-symphonic sketch. It is quite plausible that this work could organically integrate into the architectonics of an expanded symphony, serving as an interlude or even a culminating episode. The form of «Feast of trumpets» clearly delineates a three-part structure. The first section presents an impressive complex of cluster formations that span a wide sonic range, creating a maximally volumetric sound space. A characteristic feature of this section is the frequent meter changes (3/4, 4/4, 5/4), contributing to a sense of boundlessness and allencompassing nature. The sound palette evokes certain allusions and parallels with the introduction to symphonic poem «Also sprach Zarathustra» by Richard Strauss underscoring the global scale of the compositional design. The middle section of the composition consists of two contrasting thematic blocks. The first is an energetic, rapid, synchronous movement, distinguished by a triplet rhythm and an ascending melodic direction. The massive rhythmic unisons of the trumpets in this episode recall the historical nature of the trumpet as a signaling instrument, imbued with heroism and dynamism. The second thematic block of the middle section is a distinct quasi-folk chant characterized by the use of sustained tones. The layering of trumpet parts in this episode leads to the formation of a unique polyphonic texture, enriching the monotimbral sound with new expressive nuances. The recapitulation returns the listener to the initial emotional state of the work. The musical material of the first section is presented in a condensed form but with significantly amplified dynamics, reaching a climactic tension and concluding the composition on a high emotional note.

Results and conclusions. «Feast of trumpets» by Ye. Stankovych vividly exemplifies how a deliberate limitation of the timbral palette can become not an obstacle, but a powerful stimulus for creative experiment. The composer masterfully utilizes the unique acoustic properties of brass instruments, their ability to create both dense cluster sounds and expressive melodic lines, as well as rich rhythmic figurations and polyphonic elements. Through this, the composer achieves a monumental and deeply emotional impact, despite the work’s formal brevity and monotimbrality. The piece rightfully holds a special place in the composer’s chamber heritage, demonstrating his courage in seeking new expressive means and an original approach to instrumental possibilities.

CONCERTOS FOR TROMBONE AND ORCHESTRA BY LEVKO KOLODUB: CONCEPTUAL PRINCIPLES OF INTERPRETATION

Yurii Yarovyi — 2025-09-13

Relevance of the study. The concertos for trombone and orchestra by L. Kolodub hold a prominent place in the Ukrainian musical heritage. Their interpretation requires not only technical precision but also a conceptual rethinking that reflects the multidimensional artistic potential embedded in the composer’s intention. In the context of modern performing practice, there is a growing need for a thorough exploration of interpretative strategies that extend beyond traditional execution and address the deeper semantic layers of musical works. This study responds to this need by proposing a comprehensive conceptual foundation for interpreting these compositions.

Main objective of the study. The main aim of the article is to determine and theoretically substantiate the conceptual principles of interpreting the trombone concertos by L. Kolodub. The study seeks to demonstrate how interpretative awareness of stylistic, dramaturgical, and expressive elements enhances the performer’s role as a mediator between the composer and the listener.

The Methodology. The study is based on an interdisciplinary methodological framework, which includes hermeneutic analysis (according to M. Mymryk’s triadic model of «experience — expression — understanding»), genre-stylistic analysis (to assess Kolodub’s individual approach within the instrumental concerto genre), structural-functional analysis (to explore the architecture and thematic dynamics of the concertos), and organological and performance-based methods (focusing on the expressive and technical potential of the trombone as a solo instrument in the 20th– 21st centuries). The hermeneutic approach enabled the identification of hidden meanings within the musical text and their interpretation through performer-driven artistic decisions.

Main Results and conclusions. The research demonstrates that the concertos by L. Kolodub for trombone and orchestra are rich in stylistic synthesis, combining classical-romantic forms with innovative timbral solutions and elements of Ukrainian folklore. In particular, the First Concerto emphasizes idiomatic writing for the trombone, dramaturgical clarity, and expressive lyricism, while the Second Concerto offers broader possibilities for interpretative individuality, especially through cadenzas and thematic contrasts. The concept of «hermeneutic cyclicality» is highlighted as a key to grasping the multiple semantic layers of Kolodub’s music. The performer is positioned not merely as an executor of the score, but as an active co-creator who must engage with the folk-rooted musical idiom, respond to dramaturgical tensions, and construct a communicative dialogue with the audience. The findings underline the significance of Kolodub’s concertos for the development of both Ukrainian trombone performance and the broader discourse of modern academic music.

This study enriches the understanding of interpretative paradigms in wind repertoire and affirms the artistic value of Kolodub’s contributions within the national and international musicological context. It also underlines the necessity for a performer’s conceptual preparedness and emotional empathy, which are crucial for achieving a meaningful musical narrative. The proposed conceptual principles offer a valuable framework for performers, educators, and researchers engaging with postwar Ukrainian music.

Future investigations may expand on the comparative analysis of Kolodub’s concertos for different wind instruments, examine their reception history, and explore pedagogical applications in performance education. The evolving role of folk idioms in contemporary compositions also presents a fruitful direction for interdisciplinary inquiry in musicology and cultural studies

«4′33″ ON NAUKA AVENUE» BY SVYATOSLAV KRUTYKOV: CONCEPTUAL ASPECT

Anna Prykhodko — 2025-09-13

The relevance of the study is determined by the lack of a systematic analysis of compositions built exclusively on noise material without further processing using computer technologies or other sound processing tools. Analysis of the specifics of the composer’s creative practice through the lens of his conceptual thinking — incorporating materials from personal communication, as well as the interpretation of Svyatoslav Krutykov’s work within the context of soundscape composition (with an emphasis on documenting and preserving the local sound environment) — contributes to the development of new receptive models.

The main objectives of the study are to identify the specific features of the soundscape composition in the work «4′33″ on Naukа Avenue» for fixed media by Svyatoslav Krutykov; to determine the main semantic guidelines of the composer’s intention.

The research methodology: historical and functional method to reveal the conceptual foundations of the work and its artistic value; analytical method to identify the features of the implementation of philosophical and ideological concepts; intent analysis for the find the author’s intentions; comparative method for comparing related artistic concepts; the method of theoretical generalization for summarizing the results of the research.

Results and conclusions. Therefore, in «4′33″ on Naukа Avenue» for fixed media Svyatoslav Krutykov operates with noise material of untempered sonorities as a structural element of the composition, reproducing the natural sound of the street without involving computer technologies for processing the material. The practical and ideological implementation of the idea is close to the concept of soundscape compositions, which are always based on themes of the sound environment with the possibility of minor technical manipulations to achieve a certain level of musical abstraction (however, they never create an exclusively abstract sound space, as is the case in musique concrète). Since the soundscape composition is based on the principles of acoustic ecology, even with some reconfiguration of the ecological component, the contextual factor that characterizes the acoustic environment remains important. Not belonging to this disciplinary field, Svyatoslav Krutykov, nevertheless, created a sound structure in which, due to recorded reality, the sound inherent to a specific local area during a certain historical period was preserved (such as the changes in the sound landscape of Nauka Avenue under martial law and curfew). Environmental sounds form a powerful channel of memory, triggering a chain of connected memories; this is exactly the kind of sonic journey that composers who work with soundscapes try to create.

The analysis of the author’s conceptual and aesthetic intentions demonstrated a certain continuity of the ideas of the Second Avant-Garde, in particular some aspects of the author’s worldview, close to the views of John Cage. The composer interprets the concept of the musical manifesto «silence» through his own optics, allowing the sounds of the environment to remain themselves, without the author’s interpretation.

A work of art is an open communicative system. In various scientific interpretations, new aspects can be revealed that can kaleidoscopically complement the general dimension of the study of compositions created on noise material. At the same time, it remains important to understand the work of Svyatoslav Krutykov, which will contribute to the awareness of the diversity and scale of the composer’s personality.

CULTURAL SYMBOLS OF DONETSK REGION IN YEVHEN PETRYCHENKO’S CHORAL SYMPHONY-PERFORMANCE «ILLUMINATED BY THE BLACK SUN»

Anastasiia Yermolenko — 2025-09-13

The relevance of the study. One of the prominent figures among Donetsk artists is composer Yevhen Petrychenko, who frequently incorporates various cultural attributes of the region into his work. The use of symbolic elements in the choral symphony-performance «Illuminated by the Black Sun», which highlight the rich historical heritage of the region, challenges the stereotypical perception of Donetsk as merely an industrial area. The work has sparked significant response within the musical community, as evidenced by critical reviews of performances, numerous interviews with the composer and directors, and other discussions. However, analytical studies exploring the embodiment of the composition’s symbolic content are currently lacking.

The main objective of the study is to explore the musical means of embodying the cultural symbolism of the Donetsk region in Yevhen Petrychenko’s choral symphony-performance «Illuminated by the Black Sun». The methodology is based on a culturological approach and includes historical-cultural and structural-analytical research methods.

The main results and conclusions. The cultural symbols of the Donetsk region in Yevhen Petrychenko’s choral symphony-performance «Illuminated by the Black Sun» are more than artistic imagery; they embody the region’s rich cultural heritage and unique identity. This article provides a detailed analysis of all eight parts of the work, exploring how cultural symbols are expressed through musical language, structural elements, and performative techniques. Petrychenko harnesses musical expression to bring the work’s concept to life, integrating traditional and unconventional instruments, vocal exclamations, shouts, whispers, and theatrical choral staging. The piece stands as a significant contribution to contemporary Ukrainian culture, redefining Donbas as a vibrant cultural region and showcasing Petrychenko’s innovative approach to the grand choral cycle. Future research could pursue interdisciplinary approaches, blending musicology, theater studies, semiotics, and cultural analysis to further illuminate the role of cultural symbols in modern musical art

CLAUDE DEBUSSY'S VOCAL MINIATURE «CLAIR DE LUNE»: FROM AUTHORIAL CONCEPT TO PERFORMATIVE INTERPRETATIONS

Valentyna Redya — 2025-09-13

Relevance of the study. Claude Debussy’s vocal music holds particular interest as a space where the composer developed his individual style. In these works, the “pioneer of 20th-century music” explored ways of conveying poetic imagery through sound, making the study of expressive means in his vocal miniatures vital for understanding his early creative evolution. Equally important is the performance aspect — particularly, the influence of French phonetics on vocal diction. Attention to the phonetic and prosodic features of the French language in singing allows for a deeper and more authentic interpretation of Debussy’s works, thus renewing interest in his vocal legacy today.

Objective of the study. To reveal Debussy’s artistic intent in Clair de lune and examine how it is embodied in various performance interpretations.

Methodology. The research employs a comprehensive approach, combining culturalhistorical, genre-stylistic, and intonational analysis with phonetic, comparative, and theoretical methods. These enable contextualization of the work, detailed musical and textual examination, and comparative evaluation of different interpretive approaches.

The main results and conclusions. Clair de lune, based on a poem by Paul Verlaine, reflects Debussy’s enduring fascination with lunar imagery. Its refined melodicism, fluid rhythm, and rich harmonies create an atmosphere of serene dreaminess. A comparative analysis of interpretations by French soprano Natalie Dessay and Korean singer Anna Sohn reveals differences in phrasing, tempo, articulation, and dynamic shaping. While both demonstrate high artistic quality, Dessay’s native fluency in French ensures effortless, idiomatic expression of Verlaine’s “music of the word.” Sohn’s performance, more deliberate and carefully articulated, reflects the effort required to sing in a foreign language. The study shows that national vocal traditions and language proficiency play a significant role in shaping interpretive choices. Achieving a compelling performance of Debussy’s French vocal music requires balancing poetic understanding, fidelity to the composer’s vision, and personal artistic individuality.

Future exploration should further address the balance between interpretive freedom and stylistic accuracy, as well as the pedagogical strategies that help singers overcome linguistic and expressive challenges in non-native repertoireThe prospects for further research on this issue include the detailed study of the creative heritage of the founders of ensembles, the detection and analysis of all periods of the ensembles' activity with a focus on the present, and the identification of changes in the consciousness of national identity that occurred in the context of the history of the formation of these ensembles.

JOSEPH-NICOLAS-PANCRACE ROYER'S CREATIVE WORK IN THE CONTEXT OF FRENCH MUSICAL ART DEVELOPMENT IN THE FIRST HALF OF THE 18TH CENTURY

Dmytro Shevchenko — 2025-09-13

The relevance of the study. The article attempts to systematize available information about the French composer of the first half of the 18th century P. Royer and to comprehend his role in the history of French musical art. Despite the artist's active creative, pedagogical, and public activities, his work still remains on the periphery of research interests. However, his harpsichord music is cherished by performers and listeners due to its genre diversity and vivid thematicism.

The main objective of the article is to determine Royer's role in the history of French musical culture and to investigate how the artistic processes of professional French musical art in the first half of the 18th century are reflected in his creative work.

The methodology includes the biographical method (studying P. Royer's life and work), genre-stylistic analysis (characterizing the composer's works), and the method of generalization.

Results and conclusions. The study shows that Royer's life and work were shaped by the sociocultural and aesthetic changes of the era. At the beginning of the 18th century in Paris, Italian music was very present, which significantly influenced the development of the French national musical style. Royer's career testifies to the composer's high status and recognition of his merits. As a harpsichord teacher at court, composer, director of the Concert Spirituel, and general director of the Royal Academy of Music, Royer significantly influenced the development of French art in the 18th century. The beginning of the 18th century marked the culmination period of French harpsichord music development, the time of iconic works by F. Couperin, J.-P. Rameau, and other masters. In this context, Royer publishes his Premier livre de pièces pour clavecin in 1746, a collection consisting of fourteen brilliant pieces with characteristic programmatic titles. The composer's contribution to the harpsichord repertoire and traditional performance practice has been analyzed, revealing the peculiarities of how artistic tendencies are reflected in his works and their influence on musical writing. Combining French refinement and Italian expression, Royer's keyboard creativity marked the final wave of French harpsichord music and became a distinctive mirror of the stylistic changes of the era.

GUITAR QUINTET ОP. 143 BY MARIO CASTELNUOVO-TEDESCO THROUGH THE PRISM OF THE GENRE'S TRADITIONS

Illia Halla — 2025-09-13

The relevance of the study lies in the need for a more holistic understanding of the history of the development of genres that are common in the repertoire of modern guitarists.

The main objective of the study is to study Mario Castelnuovo-Tedesco's "Quintet", Op. 143, through the prism of the traditions of the genre. The methodology is based on the application of the following methods: comparative (to identify common and divergent features between guitar quintets), structural-functional, genre, intonation-dramaturgical (for a holistic analysis of works), as well as the method of theoretical generalization (to summarize).

The main results and conclusions. Thus, through the examination of Quintet op. 143 by Castelnuovo-Tedesco within the framework of genre analysis and by comparing it with the most prominent exemplars of the genre from previous centuries—such as the quintets of L. Bockernini, J. Schnabel, M. Giuliani, and E. Shand — it is possible to observe a consistent adherence to traditional formal conventions. For instance, the classical four-movement sonata cycle can be discerned in the works of L. Bockernini and J. Schnabel. However, it is noteworthy that with the advent of late Classicism and Romanticism, composers such as M. Giuliani and E. Shand either modified the number of movements within the sonata cycle or resorted to alternative cyclical forms. The role of the guitar in M. Castelnuovo-Tedesco’s Quintet op. 143 as the leading instrument —occasionally serving as the accompanying voice within the ensemble— remains consistent with traditional practices and is logically justified. The transformation of the guitar from an accompanying instrument to a principal solo instrument can be distinctly traced across all the works discussed in the article, especially when arranged in chronological order. Additionally, one may draw attention to the innovative and creative approaches in utilizing unconventional intonational material, as exemplified in the quintets by E. Shand and M. Castelnuovo-Tedesco. It is also pertinent to highlight Castelnuovo-Tedesco’s compositional mastery in the realm of guitar writing. Despite not being a professional guitarist himself, the composer succeeded in elevating the guitar to a soloistic role within the ensemble, comparable to that of professional guitarists and composers. Nevertheless, it should be acknowledged that the Italian-American artist also authored more virtuosic compositions for the instrument, reflecting a broad and sophisticated understanding of its technical and expressive capabilities.

DIGITAL TOOLS IN THE STUDY OF ORTHOEPIC ASPECTS OF SINGING

Dmytro Kyrychek — 2025-09-13

The relevance of the study. The study explores the potential of digital technologies in researching the orthoepic characteristics of vocal performance, with a focus on the intercultural aspect of opera repertoire interpretation. Particular attention is given to the analysis of singing in Italian and German. The research involves the visual representation of vocal material using the Sonic Visualiser software, which allows the construction of spectrograms and identification of the voice’s frequency characteristics in progression. This enables the singer not only to hear but also to see the differences between timbral variants, thus contributing to a more effective acquisition of complex aspects of vocal technique.

The role of vowel sounds is highlighted as the foundation of the singing phrase, conveying orthoepic and timbral expressiveness most fully. Emphasis is placed on the correlation between timbral techniques such as chiaro–scuro, Deckung, and Offene Stimme, their reflection in the frequency range of spectrograms, and their importance in shaping the performer’s interpretive concept.

The necessity of visualizing sound processes is underlined as an additional tool for scientific research and vocal training, facilitating a deeper understanding of the connection between acoustic characteristics and performance technique. The relevance of digital analysis is emphasized not only for research purposes but also as a tool for pronunciation correction, timbre formation, and the development of orthoepic competence in young singers.

The presented study demonstrates a new approach to evaluating the quality of vocal performance, taking into account the factor of approximation to "objective" sound parameters. The focus is placed on the cross-cultural nature of vocal orthoepy, manifested in the specificity of vowel formation according to the phonetic norms of each language. It is established that, regardless of the language of performance, the articulation features of vowels — their width, openness, and resonant position — determine the stylistic and interpretive persuasiveness of the vocal performance. The necessity of considering the orthoepic differences of various vocal schools is emphasized, as this contributes to shaping a precise interpretive concept. An attempt is made to approach the evaluation of vocal performance quality with consideration of objective sound parameters in the intercultural context of vocal art.

The main objective of the study. To indicate the direction of using digital tools in the study of orthoepic aspects of vocal performance.

The methodology. The methodological foundation of the study is based on a comprehensive approach that incorporates methods of acoustic phonetics and spectral analysis through the use of digital tools (Praat, Wavesurfer, Sonic Visualiser, Audacity). The core of the research lies in spectrogram analysis, which enables an objective assessment of the acoustic parameters of the sound signal. The methodology includes the preliminary preparation of audio recordings (isolating the voice from the musical accompaniment, high-quality digital processing of the audio material), segmentation of the recordings into individual fragments for detailed analysis, and the study of the formant structure of vowel sounds and their acoustic characteristics. Comparative-typological and intercultural methods are also employed to identify the specific features of vocal schools, particularly German and Italian.

The main results and conclusions. A promising direction for further research is the application of artificial intelligence to automate the analysis of vocal recordings. Machine learning can recognize vocal patterns and automatically detect typical orthoepic errors, significantly simplifying and accelerating the learning process for vocalists. Additionally, the integration of digital tools into teaching practice should be emphasized. The visualization of vocal sound characteristics enables students to better understand the relationship between the physiology of singing and the acoustic parameters of the voice. Teachers can use the results of such analysis as a tool for correcting their students’ vocal technique. The use of digital technologies also makes it possible to analyze dynamic and timbral changes during vocal performance. For example, tracking variations in intensity and formant frequency can reveal how a singer adapts to complex acoustic conditions in concert halls or recording studios. Such studies can contribute to identifying optimal vocal techniques for different acoustic environments. Thus, the implementation of digital tools and research involving their use allows for greater objectivity and efficiency in vocal training. Future academic explorations may involve the development of new digital tools that combine analytical methods with pedagogical strategies, opening new horizons in vocal performance mastery. A pedagogical response to the issue of timbral variability in vocal delivery requires a combination of traditional methodology with innovative digital tools. The conducted study demonstrates that spectral analysis not only records changes in sound but also transforms abstract categories such as "bright" and "dark" timbre into practically accessible vocal parameters. This significantly enhances the effectiveness of the educational process and ensures a high level of intercultural vocal interpretation.