No. 135 (2022)

DOI: https://doi.org/10.31318/2522-4190.2022.135

Published: 2022-12-26

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Слухач у смисловому просторі музичного твору

A listener in a musical work

Victor Moskalenko

8-16
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Is the collective listener a passive recipient or a creator of ideas? (about the intentional dimension of music performance

Olha Katrych

17-25
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The Listener and the Work as the Dualistic Basis for the Morphological Analysis of Music

Valery Glivinsky

26-37
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“Ukrainian wave” in the context of music life in modern Switzerland

Olga Vardanyan

38-47
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Piano music by Viktoria Poleva: Experience of performing embodiment

Iryna Starodub

48-57
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Теоретичні проблеми композиторської творчості

Padre Martini’s fugue theory in the projection on Maksym Berezovsky’s work

Olha Shumilina

58-69
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First opera about Artificial Intelligence: Miroslav Srnka “Singularity”

Adelina Yefimenko

70-80
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Violin concerto by Gian Carlo Menotti: at the intersection of opera and instrumental genres

Olena Antonova

81-95
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The timbre composition of Claude Debussy’s “Prélude à l’Après-midi d'un faune”: stylistic aspect

Oleksandr Zharkov, Iryna Kokhanyk

96-111
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“Madrigāls” by Peteris Vasks: ways to renew the genre tradition

Mariia Tytova

112-125
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Interpretitve principles of stage implementation of Frank Marten’s Oratorio “The Magic Potion” in the Theater St. Gallen

Daria Kozyk

126-136
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Functions of Music Festivals in Modern Italy: “Rossini Opera Festival”

Olena Ponomarenko

137-150
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REVIEWS

Musical history: a new “Access code” (Zharkova V. History of Western music: Homo Musicus from Antiquity to Baroque: Textbook for students of all specializations of music institutions of higher education of III–IV Levels accreditations. Kyiv : Arthuss, 202

I. Drach

151-157
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