Scientific herald of Tchaikovsky National Music Academy of Ukraine

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Валентина Редя, Юрій Чекан — Thu, 13 Mar 2025 00:00:00 +0200

Maryna Romanivna Cherkashіna-Gubarenko: universalism of creative personality

Artemieva Vira — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. The diverse professional activity of Marуna CherkashinaGubarenko is analyzed for the first time in Ukrainian musicology in terms of the relationship between the personal factors of the musicologist's activity and modern concepts of the phenomenon of activity universalism. The main objective of the study to reveal the specifics of the phenomenon of universalism of the creative personality of Marуna Cherkashina-Gubarenko. The methodology includes historiographical, biographical, phenomenological, and culturological methods that create conceptual guidelines for understanding the essence of the phenomenon of the universal creative personality of Marуna Cherkashina-Gubarenko.

Results and conclusions. The phenomenon of a universal creative personality in its general sense has attracted public attention since Antiquity to the present day. The considered types of activities of a universal creative personality are the main lines of embodiment of the diverse interests of M. Cherkashina-Gubarenko. Many years of her multi-vector activity in the field of Ukrainian musicology gives grounds to consider her as a "universal creative personality", which is characterized by a combination of at least three types of activities. Considering the importance of the creative component in the structure of the personality, we note that the manifestation of M. CherkashinaGubarenko in her work was partially realized in the field of librettology - she was the author of several libretti to operas and wrote poems. In the professional sphere of M. Cherkashina-Gubarenko, three leading types of activity can be distinguished: musicology, music-social activity and music pedagogy. The musicologist had a long and powerful period of scientific and creative life, which amounted to about 60 years. The results of her musicological activity are presented in the form of several individual monographs, a textbook and collections of articles. In addition, M. CherkashinaGubarenko is the author of about 100 articles. The artist's interests covered a wide range of topics: from the trends in the development of Western European opera theater from the Baroque to the present day, the phenomenon of "director's opera" in the musical theater of the 20th–21st centuries to the traditions and features of modern Ukrainian musical culture. The most representative project of musical and public activity was the founding of the Kyiv Wagner Society by M. Cherkashina-Gubarenko in 1996. The results of the musicologist's activity as a talented teacher are more than 50 graduates, 34 candidates and 8 doctors of art history. Numerous researchers continue to work in the field of Ukrainian musicology, supporting the traditions of the scientific school of M. Cherkashina-Gubarenko.

Maryna Cherkashіna as librettist: «musical theatre expressed in words»

Iryna Drach — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. In the history of Ukrainian culture, the prominent personality of Maryna Cherkashіna-Gubarenko (1938–2024) occupied a significant place as a musicalogist, leader of Ukrainian opera studies, music and theatre critic, journalist, teacher, scientific expositor of modern art and tireless educator. Her legacy also includes several poetry collections and ten opera libretti, among which eight were embodied by the composer, and six operas on her libretti were staged. As literary sources, she used the works of William Shakespeare, St. Francis of Assisi, Mykola Hohol, Hryhorii Kvitka-Osnovianenko, Taras Shevchenko, Prosper Mérimée, Jules Verne, Mykola Kulish, Oleksandr Korneichuk, and Vasyl Bykov. Her work on libretti was not of secondary importance among her life and artistic priorities since it was existentially motivated and revealed as an integrative act of sublimation of the entire set of her life, research and artistic experience. Understanding this unique experience determines the topicality of this article.

Main objective of the study is the specifics of the librettist's work in modern Ukrainian theater.

The methodology includes biographical (to clarify the circumstances of Maryna Cherkashina-Gubarenko's life and work), comparative (to identify the continuity of libretto texts in relation to previous examples of the genre), as well as a complex of analytical approaches, including structural-functional, genre-stylistic, narratological, lexical, and dramaturgical (to characterize selected examples of libretto creativity).

Results and conclusions. It is emphasize to characterise the libretto work of Maryna Cherkashіna-Gubarenko as a body of texts in the aspect of the opera tradition, as well as to identify the specifics of her work on the opera libretto as a project and meta-referential artefact using cases in point. The purpose of this article is Cherkashіna's libretto heritage became the object of research for the first time, which allowed not only to complement the vision of the history of Ukrainian opera of the last decades of the XX century, but also to test modern approaches to the study of opera libretto as an independent literary genre. Using the example of two texts, ‘Seven Words of Malachi’ (Singspiel libretto) and 'The Children of Captain Grant' (opera libretto), the features of constructing an opera composition as a network of meta-literary, meta-theatrical and meta-musical connections in the levels of potentiality incorporated into the project are characterised. Historical continuity in the selection and combination of opera topoi, appealing to Gioacchino Rossini as comedy dramatist, is determined.

The vocabulary of the comіс in the operatic works of Vitaliy Hubarenko and Maryna Cherkashyna

Iryna Sikorska — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. The creative partnership of V. Hubarenko and M. Cherkashyna holds anoutstanding place in Ukrainian musical theatre. Among their 13 operas, only The Matchmaker by Chance (1982) has undergone several «reincarnations» during Ukraine’s independence. The relevance of it has grown up because of heated debates around the «historically conditioned» Russian-Ukrainian bilingualism. The opera In the Steppes of Ukraine (1987) was never staged, but it consolidated previous techniques, expressive means, musical portraits, and narrative developments, so we can speak about V. Hubarenko’s discourse of comedy in operatic oeuvre. Given that six of his operas were written in collaboration with his wife Marina Cherkashyna (who authored the librettos), — we examine the subject through the lens of the V. Hubarenko – M. Cherkashyna tandem.

The main objective of the study. The article aims to see about the vocabulary of the comic in operas of V. Hubarenko and M. Cherkashyna. So our goal was: to examine the contexts of The Matchmaker by Chance and In the Steppes of Ukraine, the history of their composition, their place in Hubarenko’s operatic legacy, traditional and innovative techniques, stylistic features of their genre embodiment, and staging prospects. The methodology The research methodology is based on the following approaches: biographical method — reconstructing factual life events related to the creation of the comic operas of V. Hubarenko and M. Cherkashyna; historical method — contextualizing these works within broader historical and cultural frameworks; structural-functional, genrestylistic, and intonational-dramaturgical analysis — conducting a comprehensive examination of the operas; source studies method — analyzing autographs and archival documents;.

Results and conclusions. The Matchmaker by Chance and In the Steppes of Ukraine merge the traditional principles of the Ukrainian lyric-comic genre with modern compositional mentality. A detailed genre-intonational and semantic analysis of both operas reveals the mechanisms by which Hubarenko constructed comic characters. These include : opera symphonization through an extensive leitmotif system; modeling of natural spoken language for characters of different social and emotional backgrounds; folkloric allusions, ranging from direct quotations to stylized adaptations; a diverse genre-intonational palette, incorporating Ukrainian folk (humorous, marching, and fastpaced) songs, European salon dances (waltz, mazurka), Russian sentimental romances, and operatic lexicon. At the same time, Hubarenko managed to integrate all these elements into a unified musical language through his distinctive compositional style. As a result, the operas are perceived as cohesive works and serve as exemplary models of Ukrainian comic opera. Their revival on stage requires both temporal distance and certain textual revisions, considering Ukraine’s historical and political realities.

Wagner's «Der Fliegende Hollander»: a colourful tale of dreams and wanderings

Olena Roschenko — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. The study of R. Wagner's opera «Der Fliegende Hollander» from the standpoint of reflecting in it the genre features of the art fairy tale requires the use of those philosophical and aesthetic concepts in the context of which the artistic phenomena that form the research material in this scientific work matured. Achieving the aim of the study required relying on the doctrine of ‘transcendental philosophers’ about the «work of art of the future» as an example of a «new myth» reproduced in the form of an ‘encyclopaedia-chaos in the fragmentary form of arabesque’ [Рощенко, 2006], and on the theory of the art fairy tale set out in the Fragments by Novalis and F. Schlegel. The paradigmatic role was played by the genre features of Kunstmärchen in Wagner's opera Der Fliegende Hollander, one of the prototypes of which was W. Hauf's The Story of the Ghost Ship. Its influence on Wagner's musical drama is not limited to plot parallels, but is also observed at the level of a type of dramaturgy (fragmentary dream drama), the role of the frame principle in the «caravan» unification of stories about the fate of the cursed Captain, the influence of «Gothic novel». The discovery of the Kunstmärchen system of features has led to the expediency of genre definition of Wagner's opera as a colourful tale of dreams and wanderings. The rampage of «dark fantasy», which is overcome by the hero's final accession to the saving peace, allowed us to identify in Der Fliegende Hollander the signs of synthesis ofof such genre types as «horror opera» and «salvation opera». The interaction of these genre types allowed us to define «Der Fliegende Hollander» as an «opera of horrors and salvation». The main objective of the study is to identify the genre features of the artistic fairy tale in Richard Wagner's opera Der Fliegende Hollander based on the analysis of the philosophical and artistic context of German Romanticism. The methodology includes the principle of historicism; comparative analysis; analysis of intonation dramaturgy; encyclopaedic analysis (O. Roschenko, 2006), designed to establish the range of literary influences observed in the drama of Wagner's Der Fliegende Hollander as a colourful tale of dreams and wanderings.

Results and conclusions. The definition of Kunstmärchen features in the dramaturgy of Wagner's «Der Fliegende Hollander», based on the key positions of the works of «transcendental philosophers» regarding the interpretation of the work of «art of the future» as a «new myth», has made it possible to define the genre of musical drama as a tale of dreams and wanderings with the features of a «Gothic novel», as a «opera of horror and salvation». It is revealed that the influence of W. Hauf's Kunstmärchen is not limited to plot parallels, but is observed at the level of the logic of the development of the action according to the type of «motley sheets», which ultimately form a special type of opera drama, defined as dream drama

Giacomo Puccini in Odessa Opera: history and modernity

Nataliia Ostroukhova — Thu, 13 Mar 2025 00:00:00 +0200

Relevance of the study. The role and place of the operas by Giacomo Puccini in the repertoire of the Odessa Opera are examined. The concept of verism as the new opera direction in the end of XIX century is revealed. The performances of ten operas by G. Puccini that were performed on Odessa stage during 1898-2024 are studied. The retrospective of the change of the art generations on Odessa scene is analyzed.

Main objective(s) of the study. The topic of this publication is demonstration of the role and meaning of operas by G. Puccini in the context of the development of the genre and style specifics of the repertoire of the Odessa Opera.

The scientific novelty of the research is that for the first time the panoramic observation of the performance of the operas by G. Puccini that determined the practical experience and artistic traditions of the Odessa Opera house in the performance of the pieces of verist and neoclasslical directions was created. Methodology. This research is based on the systematic approach as the expression of the dialectic method that allows to unite the source-scientific, historiographical and analytical aspects of the musicological study.

Results. Giacomo Puccini is called the last outstanding Italian composer of the edge of 19– 20 centuries who completely dedicated himself to the opera genre. Opera style of Puccini evolved from verist dramas to chamber opera of the beginning of the 20 century. The fair recognition of the Italian opera school as the historical and stylistic basis of the European opera art explains the deep reasons for the dominant role of the Italian opera in the Odessa opera practice of the times of the entrepreneurship. But historically in happened so that in 1926 the Ukrainian opera steadily joined the repertoire of Odessa State Academic Theater of Opera and Ballet and becomes its systematic genre and stylistic basis. One of the most fruitful for the creative practice of the Odessa National Academic Theater of Opera and Ballet is the development of two main genre and stylistic directions of Odessa opera practice — the Italian romantic opera (including its extreme verist-expressionist expression) and the Ukrainian romantic and neo-romantic opera, which later received recognition as a national opera classic.

Broadway musical in the space of artistic communication

Maiia Rzhevska — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of research is determined by the necessity to highlight the factors influencing the functioning of Broadway theatre as a multi-layered semiotic space that has been formed over an extended period, has undergone and continues to undergo constant transformations, by highlighting its most representative phenomenon — the musical.

Main objective of the article is to characterize the Broadway musical as the core of a semiotic (communicative) artistic environment and, simultaneously, as an instrument for the realization of artistic communication.

The research methodology is based on an interdisciplinary approach, the applicability of which is dictated by the specific nature of the artistic phenomenon under consideration.

Results and conclusions. The study establishes that the formation of the Broadway musical occurred in parallel with the emergence and subsequent development of the urban space, which became its physical environment. The role of infrastructure development in the formation and evolution of this genre type is outlined, along with its reciprocal influences. Emphasis is placed on the unprecedentedly high concentration of artistic institutions within the Theater District of New York City. It is noted that the industry of show production and subsequent distribution involves the collaboration of numerous specialists with narrow expertise. Their composition reflects the artistic, economic, and organizational specificities of the embodiment of a musical. The study highlights the presence of a guild-like principle in the organization of the creative environment of musical theatre authors, which becomes more pronounced with the rethinking of the genre’s essence and purpose, as well as its increasing complexity (since the second half of the XXth century). Furthermore, it is stated that an essential level of information production and exchange "around the musical" is represented by music and theatre criticism and journalism, which exist in both traditional and modern forms. Various manifestations of Broadway’s inherent tendency towards self-reflection and the cultivation of historical memory are highlighted. Special attention is given to the musical Hamilton, which is considered — justifiably so — one of the pinnacle achievements of the genre.

The study confirms the diversity of communicative mechanisms that shape the artistic qualities of the phenomenon, defining its unique codes while simultaneously integrating the work into a broader socio-cultural space.

The opera «Dialogues of the carmelites»: Lviv premiere in the light of modèle parisien by Francis Poulenc

Ganna Rizaieva — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. Francis Poulenc’s opera «Dialogues of the Carmelites» is one of the greatest works of the 20th century. Since its premiere at Milan’s La Scala theater in January 1957, it has not left the world’s leading opera stages. At the same time, the composer considered the Paris performance at the Opera Garnier to be la représentation modèle of his second opera, which, in his opinion, perfectly embodied the composer’s idea and the spirit of Bernanos-Poulenc. The Ukrainian premiere of «Dialogues of the Carmelites» on the stage of the Lviv Opera in 2024 revealed the problems of highlighting the basis for Poulenc’s creation of la representation modèle and its main characteristics, raised the issue of the production concept of the Lviv spectacle and the original director's interpretation of the Poulenc’s opera. The article, for the first time in the Ukrainian musicological space, examines the history of the first, decisive for the future of this opera, productions in Milan and Paris, and also analyzes the production concept of the Lviv «Dialogues of the Carmelites» in the context of Poulenc’s la représentation modèle, which allows to understand deeper both the opera «Dialogues of the Carmelites» itself and the modern trends in the development of the opera theater.

The main objective of the study is to identify the specifics of the the production concept of the premiere performance of «Dialogues of the Carmelites» by the Lviv Opera in the context of Poulenc’s parisian la représentation modèle.

The research methodology: historical and biographical (in studying the history of the premiere performances of «Dialogues of the Carmelites» in Milan and Paris), comparative and analytical (for a comparative analysis of the production concepts of the Paris and Lviv performances of Poulenc's second opera).

Results and conclusions: Based on letters, interviews of the composer, journalistic materials of the premiere year of «Dialogues of the Carmelites», the process of preparing the opera for the stage version is highlighted, Poulenc’s active participation in the organization of the Paris production, which the composer considered universal la représentation modèle, was revealed. The fundamental differences in the production concept of the opera’s world premiere in 1957 at the Teatro alla Scala in Milan and the Paris production at Garnier l’Opéra are explored. The relevance of the author’s interpretation of the score of Poulenc’s «Dialogues» by the team of directors of the Lviv Opera was revealed: the production strategy was investigated, the strengthening of the idea of the work’s cinematic nature was analyzed through cuts and re-emphasis of the opera’s key dramatic moments. It has been proven that by reemphasizing the deeply religious content of Poulenc’s work into the humanistic plane of human values, by raising the themes of human choice in a topical tragic reality and the manifestation of heroism in it by an ordinary person who suffered from fear and despair «yesterday», adding easily readable allusions to the modern russian-ukrainian war, the Lviv performance brilliantly demonstrated the possibilities of «modern actualized theater».

Echoes of Musical Theater and the Image of the Prima Donna in Jean-Jacques Beineix's «Diva»

Serhii Zuiev — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. The subject of the intertextual interaction between opera and cinema analyzed in this study is Jean-Jacques Beineix's film «Diva» (1981). The research explores how operatic codes shape the film's narrative, visual, and symbolic structures, creating a multilayered cultural text. Four types of the operatic singer's presence in cinema are identified, including the specific situation in «Diva», where the leading role is performed by opera singer Wilhelmenia Fernandez. Special attention is given to the theme of the voice as a unique phenomenon reconsidered in the context of contemporary artistic issues such as reproduction, replication, simulation, and the quest to preserve authenticity.

The film presents numerous allusions to classic opera plots, including Puccini’s «Tosca», Mozart’s «The Magic Flute», Gounod’s «Faust», Verdi’s «Rigoletto», Catalani’s «La Wally», and Wagner’s «Tristan and Isolde». Musical and visual quotations, as well as scenes reminiscent of operatic scenography, are analyzed. The symbolism of motifs such as downfall, sacrifice, and Faustian choice emphasizes the existential dilemmas faced by the characters.

The main objective of the study is to reveal the intertextual connections driven by the extensive use of the operatic code in Jean-Jacques Beineix's film «Diva».

The methodology employs an interdisciplinary approach combining semiotic analysis, comparative, and historical-cultural research methods. Using semiotics, Jean-Jacques Beineix's «Diva» is examined as a text marked by the operatic code, featuring quotations, allusions, and symbols. Comparative analysis and the historical-cultural approach made it possible to trace the constructive interaction between the artistic means of cinema and opera. The phenomenon of the artistic copy functioning in culture is analyzed within the context of postmodernist critical methodology.

Results and conclusions. Thus, the director creates the image of an operatic prima donna in the film, correlating it with categories such as high-low, real-unreal, and art-life, placing it within mythological and fantastical contexts while engaging it in extensive intertextual connections. Simultaneously, this image acquires a symbolic dimension where life and art become inseparable. This interaction proves to be productive not only for cinema, which is enriched by established artistic codes, but also for opera, which gains a «fresh» interpretation of well-known plots, a paradoxical «discovery» of the characters' inner world, and a profound rethinking of musical scores.

Rhapsody as the leading genre modus of George Gershwin's concert music

Olena Antonova — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. George Gershwin's creative legacy includes four works that, by their instrumentation — piano solo and orchestra — belong to the instrumental concerto genre. However, only one is explicitly titled “concerto”, another is labeled “variations”, and two are designated as “rhapsodies”. The selection of “rhapsody” as a primary genre title actualizes the appeal to these works in order to understand the composer's vision of the nature of the concert genre. Additionally, the disparity in the popularity and scholarly exploration of his two rhapsodies necessitates a focus on the second one.

The main objective of the study is to reveal the specifics of the leading genre modus in George Gershwin's concert music, using his Second Rhapsody as a case study.

The methodology includes the following methods: cultural analysis to contextualize the emergence of the Second Rhapsody; comparative analysis to identify similarities and differences between the Second Rhapsody and Rhapsody in Blue; structural-functional, genre, and intonationaldramaturgical analyses to perform a comprehensive examination of the works; theoretical generalization to draw conclusions.

The main results and conclusions. The Second Rhapsody for piano and orchestra by George Gershwin (1931) is considered. The circumstances of its creation, the connection with the Hollywood film Delishious by David Butler and the commission of the Boston Symphony Orchestra conductor Serge Koussevitzky are described. Parallels are drawn between the Second Rhapsody and Rhapsody in Blue in terms of their figurative content, compositional and dramaturgical organization, thematic development, nature of interaction between instrumental parts. The choice of the genre name for these works is discussed, considering external influences and Gershwin’s deliberate orientation to Franz Liszt’s tradition. The forms of Gershwin's rhapsodies, their thematic content and dramaturgical accents are analyzed. Improvisation plays a pivotal role, reflected both in deviations from standard compositional norms and in the relatively free presentation of material. Despite this freedom, strong intonational connections underpin the unity of the Second Rhapsody. These connections extend beyond thematic elements to encompass textural backgrounds and figurative passages. The study compares the quantitative and qualitative composition of solo episodes in both rhapsodies, emphasizing how Gershwin’s pianistic style influenced their presentation. Examples illustrate the constructive basis of their textural organization. The differences between the rhapsodies in the ratio of solo and orchestral episodes are considered. The manifestations of the play principle are characterized. The conclusion is made about the dual-genre nature of Gershwin's rhapsodies, blending features of the rhapsody genre and the concerto genre. The originality of this synthesis lies in the composer’s nuanced interpretation of both genres: prioritizing improvisation in the rhapsody and the principle of play in the concerto. Finally, it is noted that the Second Rhapsody reflects a marked advancement in Gershwin’s compositional technique. Compared to Rhapsody in Blue, the Second Rhapsody demonstrates greater formal cohesion, more organic interaction between soloist and orchestra, and increased complexity and individuality in its musical language

Concerto for guitar and orchestra by Heitor Villa-Lobos: genre and style projections

Tetiana Filatova — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the article is to consider Guitar Concerto by Heitor Villa-Lobos is considered from the standpoint of the interaction of authentic Brazilian genres with the specifics of the individual composer’s style. The article takes into account historiographical information, as well as editorial and performing aspects of comparative analytics by contemporary researchers.

Main objective of the study is to identify genre sources of thematicism, linguistic features of Brazilian origin in the Guitar Concerto by Heitor Villa-Lobos in combination with individual and stylistic means of their modern embodiment. The novelty of the publication lies in the introduction of genre and style analytics of H. Villa-Lobos’s Guitar Concerto into Ukrainian musicology, taking into account the specific direction of modernist searches for musical vocabulary, tangentially related to the renewal of the instrument’s idiomatic resources and performance techniques, explanations of the structural logic of pitch phenomena, as well as the expansion of the range of manifestations of the phenomenon of autocitation. The methodology is based on an interdisciplinary approach and methods of historical-theoretical, systemic, structural and functional analysis used to study the rhythmic and intonational primary sources of authentic Brazilian genres, stylistic features of the composer’s work, folk and academic guitar performance techniques, and the relationship between the morphology of modernist thinking and the idiom of new guitar playing techniques.

Results and conclusions. The Concerto reveals genre primary sources of thematicism, linguistic features of Brazilian origin in combination with individual and stylistic means of their modern embodiment. The phenomenon of autocitation is identified as one of the main creative methods of the author’s declaration of accumulations and achievements in guitar music. Due to the leading influence of the Brazilian genre traditions of choro, the Concerto contains allusions related to the texts of the author’s own guitar cycles of preludes, choros, and etudes. The novelty of the study also lies in the analytically proven connection between the themes of the concerto and the musical material of Choro’s famous piano piece No. 5 «Alma Brasileira» from the cycle «Choros», created by the composer for different instruments and compositions. The use of the national attribution of Spanish hemiolaic modes as an element of Iberian culture is merged with the modes of octatonic symmetrical harmonies. In the aggregate of techniques, performance methods, melodic, harmonic, rhythmic elements of the language, genre and style projections of Heitor Villa-Lobos’ music deep into national sound mythologies are accumulated.

Artistic intentions of Paul Valéry: new paradigm of uniting music and architecture

Maryna Antonova — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. Paul Valéry is a prominent French poet, philosopher, and author of a large number of essays whose work spans the period from the late 19th to the first half of the 20th century. One of the most striking pages of the artist's work is the creation of a new philosophical paradigm for combining music and architecture. It is noteworthy that the influence of P. Valéry's works on the above-mentioned topics was widespread among twentieth-century artists, in particular: A. Honegger, A. Gide, A. Perret, J. Merrill, E. Bowers and many others.

Therefore, in order to understand the specifics of Paul Valery's innovative paradigm of combining music and architecture and the reasons for its extraordinary rapid spread in the cultural space of the twentieth century, it seems necessary to study the development and formation of the author's philosophical thought on the example of individual works.

The main objective of the study is to reveal Paul Valéry's individual philosophical vision concerning the essence of the combination of music and architecture.

The research methodology: genre-genetic (to study the wide palette of P. Valéry's works and areas of his creative interest), structural-analytical (for a deep analysis of the specific structure of P. Valéry's literary works), comparative (to study the differences and similarities in the embodiment of the idea of combining music and architecture by P. Valéry).

Results and conclusions. In such works as the essay «The Paradox of Architecture», the poem «Orpheus», the dialogue «Eupalinos or the Architect» and the melodrama «Amphion», Paul Valéry consistently embodies his vision of art, where architecture and music not only coexist but also interact, creating a harmonious union.

Paul Valéry's original rethinking of the unity of artistic spheres became the basis for the development of a new philosophical paradigm that united different artistic fields into a unique spatial and temporal reality. The core of this reality is the personified image of Orpheus, who embodies not only the connection between music and architecture, but their inseparable unity within the new artistic universe. In fact, Orpheus acts as a guide that harmoniously combines the duration of music with the immobility of architectural forms, embodying P. Valéry's philosophical reflections on art as a space of creative interaction.

The process of building a temple, which is a repeated motif in Valéry's work, serves as a metaphor for the harmony of the arts. The temple, as a place where music has historically lived and developed, becomes an ideal space for the realization of Paul Valéry's idea of combining the arts. This process of construction, which unfolds around the figure of the Artist, opens up the possibility of creating a new, common time-space reality for music and architecture. Only while these moments of universal unity last, the laws of a different order apply, where there is nothing superfluous except the act of creating beauty.

Electroacoustic music by Georg Friedrich Haas: notes on time-space organization

Oleksandr Chornyi — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the article is to consider electroacoustic music of Austrian composer Georg Friedrich Haas revealing the specifics of the composer's work with processed acoustic and synthetic sound. The article analyzes composer's methods of working with electronics and its interaction with acoustic instruments and performance strategies.

Main objective of the study is to reveal the organization of time-space in the electroacoustic works of Georg Friedrich Haas on the examples of the works “Schattenspiel” for piano and electronics (2004) and “...und...” for chamber ensemble and live electronics (2008), by exploring the principles of Haas's work with electroacoustic material. The scientific novelty of the article lies in the disclosure of composer's methods and performance strategies in the interaction of acoustic and synthetic sound sources, which have not been sufficiently represented in Ukrainian musicology.

The research methodology includes the methods of comparative, structural and functional analysis to study the composer's work and his place in contemporary instrumental and electroacoustic music, content analysis to study specific markers of Haas's composition technique and their implementation in practice, and the method of generalization to model the processes occurring in the integral system of each work.

Results and conclusions. The study explores Haas’s principles of microtonal organization in both the acoustic and electronic parts, as well as the technological aspects of electronic sound production. It provides a detailed examination of the compositional techniques in “Schattenspiel” for piano and live electronics, particularly the juxtaposition of electronic and acoustic parts and the temporal-spatial effects of synchronizing the live performer with their "shadow." The analysis of “…und…” focuses on the fundamental tones and their function within the work, the role of overtone series in piece’s structure. Furthermore, the study characterizes electronic sound as an independent entity and addresses the composer’s objectives in achieving the organic integration of electronic sound. The author presents Haas’ reflections on electronic sound and compares Haas’s aesthetic paradigm with those of avant-garde composers. The cognitive aspect of human perception of different overtone series is also considered, including phenomena such as micro effects and the sound illusion caused by Shepard tones. Finally, the study outlines prospects for further research on the interaction between "live" and "non-live" materials in electronic elements, as well as the study of new performance strategies and psychoacoustic factors of listening perception

Polish-Ukrainian relations in the field of early music

Yevgeniya Ignatenko — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. Jubilee 2025 – for the harpsichord class, which celebrates the 30th anniversary, and the department of early music, which celebrates the 25th anniversary – encourages reflections, memories in order to restore and comprehend the events that were important. The harpsichord class is “older” than the department for five years. Its appearance and first successes inspired the then rector of the Ukrainian National Tchaikovsky Academy of Music, Oleh Tymoshenko, to open a department of early music, headed by the famous researcher of Ukrainian music, Nina Herasymova-Persydska. The proposed jubilee reflections are selective as they focus on PolishUkrainian relations, which had a significant impact on the life and progress of the jubilarians.

The main objective of the study is to highlight the creative connections of the harpsichord class and the department of ancient music of the UNTAM with Polish musicians; to present the interaction of Polish and Ukrainian musicians within the framework of the international forum “Musica Antiqua Europae Orientalis” (Bydgoszcz, 1966–2006), the festivals “Ukraine and the Baroque World” (Kyiv, 1994), and “Bach’s Days” (Krakow, 2005, 2006), in the projects of the Bydgoszcz society “Heritage” (2013–2020). The study is based on the materials of interviews with musicians who developed Polish-Ukrainian relations in the field of early music (Nina Herasymova-Persydska, Svitlana Shabaltina, Elżbieta Stefańska). The methodology of the work is based on empirical and theoretical research methods (interviews, memories and observations, analysis and synthesis).

Results and conclusions. The Polish-Ukrainian scientific projects and concerts, which were important for the development of the Kyiv cell of researchers and performers of early music, are highlighted and presented. The Polish press’ coverage of Ukrainian musicians’ performances is examined. Polish-Ukrainian musical connections in the field of early music influenced the post-Soviet restructuring of Ukrainian educational and cultural institutions. The long-term collaboration between Kyiv harpsichord player Svitlana Shabaltina and Polish harpsichord player Elżbieta Stefańska contributed to the development of the harpsichord class, which in 2000 became part of the Department of Early Music founded at the National Ukrainian Academy of Music. The Kyiv harpsichord class became the first professional cell of historically informed performance in Ukraine. During the time of Ukraine’s independence, many Ukrainian musicians have joined the European movement for the revival of early music and historically informed performance. The study of their experiences can provide a promising direction for future research.

Valeriy Sagaydachny: unknown pages of biography

Tetyana Omelchenko — Thu, 13 Mar 2025 00:00:00 +0200

The relevance of the study. The 85th anniversary of the birth of the outstanding Ukrainian pianist, Honored Artist of Ukraine, Professor of the Kyiv Conservatory Valery Mikhailovich Sahaidachny (1939–2009) has brought to the fore the issue of studying and clarifying some facts of his creative biography. The name of the Ukrainian pianist Valeriy Sahaidachny is rightfully included in the book “2000 Outstanding Musicians of the 20th Century”. He was a bright performer, a subtle and thoughtful musician, who possessed a strong artistic temperament, an outstanding level of pianistic skill. During his creative life, he successfully performed in Ukraine, Spain, Germany, Poland, Greece, the USA, Canada,. He included the most complex works of a wide stylistic range in his solo programs, but he especially skillfully performed and interpreted the works of Chopin. Valeriy Sahaidachny raised a whole galaxy of bright students, many of whom are the pride of the Ukrainian piano school.

The main objective of the study is to find out the circumstances of Sahaidachny’s life and education, in particular, the period of the artist’s initial musical education, which had not previously been covered in autobiographical materials.

The methodology includes the method of biographical reconstruction. Based on archival documents from a private collection and the memoirs of Sahaidachny’s friends, it was possible to reconstruct this important chronological period in the formation of the musician, and for the first time to publish the name of his first teacher. In was Olga Antonivna Skoropostyzhna, student of Volodymyr Puhalsky. The memoirs of contemporaries and archival documents are presented, which testify to the progressiveness of her methodology for teaching piano, focused on involving the child in music lessons in early childhood. The level of her professional competence allowed to prepare the student for admission to secondary and higher musical educational institutions. The personality of Olga Skoropostyzhna is presented in the context of her friendly and professional ties with famous representatives of the national artistic elite: A. Artobolevska, S. Richter, D. Kabalevsky, the family of artists and art historians Prakhov.

Results and conclusions. It is assumed that the name of Olga Skoropostyzhna was not made public by Valery Sahaidachny because of her husband, a priest — the rector of the Volodymyr Cathedral in Kyiv, the teacher at the Kyiv Theological Seminary: in the Soviet era of ideological persecution of the church and believers, such close communication with the priest’s family could have negative consequences for the person. Thus, a holistic idea is formed about the fundamental nature of Valery Sahaidachny’s primary and secondary musical education, the roots of which are closely connected with the Kyiv Piano School and its founder — Volodymyr Puhalsky.

Italian conservatory in the context of modern musical life

Olena Ponomarenko — Thu, 13 Mar 2025 00:00:00 +0200

Relevance of the study. The Italian Conservatory has always been the center of the musical life in the country, it attracts musicians from all over the world and thus ensures a high level of musical education. Innovations are combined here with traditional teaching methods, classical methods with the latest ones, which determines the modern level of its activities. The conservatory in modern Italy is not only an educational institution, but also a sociocultural institution that establishes extensive social connections, actively implements modern methods of work, opens up relevant scientific and educational areas, updates specialties and specializations, and also develops cultural ties, developing and implementing various musical projects. This is facilitated by the intensive development of cooperation and interaction with various socio-cultural institutions — the opera house, the museum, the music festival, which significantly affects the promotion of cities and regions with the help of special events (concerts, festivals, cultural events).

Main objective. The goal of the study is to reveal the activities of the Italian Conservatory as a multifunctional institution, in particular to characterize the model of integration of art and education as the basis for its development in modern conditions.

Methodology of the study. Since the Italian Conservatory is considered in the article not only as an educational institution, the specifics of its functioning in the socio-cultural context are of scientific interest: concert and educational activities, organization of musical projects. Such a conceptual approach implies the use of a complex of scientific methods: historical, analytical, empirical, socio-cultural, inductive, deductive, systemic, generalization.

Results and conclusions. The activities of the Italian Conservatory as a multifunctional institution are aimed at preserving and developing artistic traditions, as well as updating the modern educational process by developing innovative scientific and educational projects, opening new specialties and specializations. Its experience will also be of interest to Ukrainian musicians, especially in terms of interaction with various sociocultural institutions in the preparation and implementation of cultural, artistic, musical projects together with the opera house, museum, and music festivals. This will lead to the popularization of the creativity of individual artists, performing groups, scientific and artistic schools, as well as the promotion of cities and regions of the country with which their creative activity is associated.