No. 122 (2018)

Art studies

• Hennady Liashenko: the perspectives of life and creative work

  Mayya Rzhevska

  9-21

  • PDF (Українська)

• An «author’s signs» from style in instrumental music by Hennady Liashenko

  Maryna Denysenko-Sapmaz

  22-32

  • PDF (Українська)

• The concert for viola and orchestra by Hennady Liashenko as a reflection of his world outlook

  Anastasiіa Komlikova

  33-41

  • PDF (Українська)

• Intonational unity as an integration factor of idea (on the example of Hennady Liashenko's Second Concerto for Cello and Orchestra)

  Anastasiia Tormakhova

  42-52

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• Mysteries, vitrages and landscapes of Hennady Liashenko's choral creation

  Olesia Halas

  53-62

  • PDF (Українська)

• European musical traditions in the pieces for viola by Hennady Liashenko

  Natalya Kyrdza

  63-70

  • PDF (Українська)

• Hennady Liashenko’s «Technems» for winds incontemporary context of Ukrainian instrumental music

  Yaryna Denysenko

  71-78

  • PDF (Українська)

• Specificity of Performance Interpretation of Hennady Liashenko`s Quartet №1

  Nataliia Feshchak

  79-87

  • PDF (Українська)

• The specificity of the double simple imitation and its role in the dramaturgy of the Renaissance epoch musical works

  Zoran Bozanic

  88-97

  • PDF (Русский)

• The Theory of Heinrich Christoph Koch and its role in the context of the analysis of musical works

  Jasna Veljanovic

  98-109

  • PDF (Русский)

• The interaction of compositional and performing means of expressiveness in the Second Sonata-Ballade by Boris Lyatoshinsky

  Oleg Bezborodko

  110-124

  • PDF (Українська)

• The phenomenon of "spatial music" in the instrumental works of Edgard Varèse

  Dmytro Shchyrytsia

  125-135

  • PDF (Українська)

• Three More drops in the sea of searches of musical sense

  Mykola Kovalinas

  136-149

  • PDF (Українська)