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C O N T E N T
volume 56 year 2020
Chapter 1 Pages
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Kopeliuk O. O.
First Piano Concerto by Ivan Karabyts in terms of the renewal of concertî genre in Ukraine
 8-29
Diachenko Yu. S.
Pop‑jazz works by Viktor Vlasov: genre and style innovations
 29-43
Lytvyshchenko O. V
O. I. Nazarenko as a coryphaeus of the Kharkiv accordion school: formation of the authorial style
 43-56
Slipchenko K. D.
Domra’s sonorous possibilities in the pieces by O. Oliinyk
 57-73
Fedenko A. Yu.
Musical and dramatic creativity by Olena Pchilka in the development of children musical theater in Ukraine
 73-92
Chapter 2
Kodenko I. I.
Specificity of performance of Åarly Music: historical aspect
 93-105
Kutluieva D. V.
Under the sign of playing: C. M. Weber’s Piano Quartet
 106-120
Serdiuk Ya. O.
Chamber music works by Amanda Maier in the context of European Romanticism
 121-135
Klendiy O. M.
Interpretative aspect of C. Saint‑Saëns’s piano music
 136-153
Sediuk I. O.
The originality of neoclassic principles reflection in the Sonata for two pianos by Paul Hindemith
 154-168
Uspenska I. O.
Violin concerto principles as a way of musical thinking: semantic discourse
 169-188
Knysh P. O.
Gender approach in the analysis of performing versions (on the example of F. Chopin’s Second Piano Concerto performed by E. Kissin, C. Arrau, Lang Lang, M. Argerich, B. Davidovich)
 189-199
Startsev D. À.
Musical notation in the aspect of the semiotics theory by Charles Morris
 200-212
Chapter 3
Zhale³ko D.M.
The value transformation ànd semantic space of kitsch in the music practice at the turn of the 20th and 21st centuries
213-237
Nikolenko R. V.
Historical retrospective in the composer creativity by M.-A. Hamelin
 238-252
Kordovska P. A.
Italian singer Daisy Lumini as an interpreter of the post-avant-garde music
 253-266
Melnik V. Yu.
Aflamencado practice in the contemporary piano perfoming
 266-280
Kuzmina O. A.
Opera for children-performers in the work of contemporary choir conductors
 281-298
Kryvosheieva O. V.
Imagination as one of the key elements in the formation of a future actor psychotechnics
 299-311
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