Piano art of Ukrainian Diaspora in the context of Shevchenko`s celebrations

Introduction. The article examines the origins of Taiwanese piano art, its evolution, the influence of national and numerous non-national musical traditions. Until today, no special study devoted to the general panorama of these important processes has been created. The general picture of the formation and development of Taiwanese musical culture in the context of the political, economic and social situation is considered. The purpose of the article is to highlight the origins of Taiwanese piano art, which influenced its evolution, the process of introducing national and numerous non-national elements at the main stages of its formation and development. With the help of analytical, historical, comparative, interdisciplinary methods of research, a number of tasks are solved: the role of Western Christian missionaries in the development of musical education and piano art on the island is determined, the reasons why the Western classical music was accepted by the local society, the questions about the founders of the system of Western of classical music education, the programs and forms of learning in the first music schools in Taiwan, the names of the first Taiwanese composers-pianists are clarified; а periodization of the development of piano art in Taiwan is proposed. Results. The most important historical stages of the formation and development of Taiwanese piano art can be considered: – the period of its creation from the end of the 16th century to 1894; – the period of Japanese colonial rule from 1895 to 1945; – the period of development of national self-awareness, 1946–1986; – the period of reunification with mainland China from 1987. The proposed periodization makes it possible to reveal the entire historical and cultural context of the existence of piano art in Taiwan, to project its genetic settings for further stages of its development. Its basis was national folklore, but since the middle of the 16th century, the island was visited by Spanish, Portuguese, Dutch and Canadian colonists, and the first contacts of Western music with the indigenous population of Taiwan were made thanks to the activities of Western missionaries and were subordinated mainly to religious purposes. The stage of Japanese colonial rule was important for the development of piano art on the island. Due to the influence of Japan, Taiwanese musicians had further opportunities to join the system of Western classical music education, as the Japanese government was helping Taiwanese youth to obtain it. After 1920, Western classical music becomes popular in Taiwan; the formation of composer creativity in the field of piano music also takes place – the activities of such Taiwanese composers and pianists as Chiang Wen-Yeh, Chen Sizhi, Kuo Chih-Yuan, Kao Tzu-Mei and others. In the years 1946–1986, we observe the further development of performing and teaching activities at the island, a bright burst of creativity by such composers as Chang-Hui Hsu, Hsiao Tyzen, Shui-Long Ma and others. After 1987, active musical contacts between China and Taiwan contribute to the further progress of the island’s piano art. The piano works of Taiwanese composers Shih-Hui Chen, Fan-Ling Su, Chien-Yu Huang and others are widely popularized. In recent decades, the performing activities of Taiwanese pianists, represented in the international space by the names of Chien-Yu Huang, Yi Chih Lu, Chiu Tze Lin and many others, have become very active. Today, the piano art of Taiwan is the most important part of not only Chinese, but also world music culture. Conclusions. The study of the origins of the piano art of Taiwan, the periods of its development, ways of refracting different musical traditions will help to understand both the historical-theoretical and aesthetic-pedagogical and artistic significance of this phenomenon in musical art. The most important events in the social and cultural life of Taiwan, since the end of the 16th century, indirectly affected the development of national piano art, which underwent qualitative changes connected with the emergence of new musical forms and means of expression, the methods of using the national and Western compositional techniques. The prospect of further study of the topic consists in a more detailed study of the modern stage of developing piano art in Taiwan and clarifying the influence of its extensive genetic roots on the compositional and performing creativity of representatives of Taiwanese musical culture.

Background. The spread of piano music in China at the beginning of the century, the formation of the foundations of piano teaching methods, the creative international exchange of experience with representatives of performing schools of different countries – these are the stages at which Chinese pianism was formed. The article examines the process of formation of Chinese professional piano pedagogy on the example of the activities of the most significant higher educational institutions and the network of music schools in China. The performing, pedagogical, methodical and organizational activities of representatives of the Chinese piano school are analyzed. The peculiarities of various piano schools in the personalities of leading Chinese pianists are specified in terms of their education, concert-tour activities and participation in international competitions, performance manner and repertoire selection, pedagogical activities, and their contribution to the modern world piano school is determined. Objectives. The purpose of the article is a scientific generalization of the historical experience of the formation and dynamics of the development of the highest degree of the Chinese piano school – conservatory, which led to an unprecedented rise of piano art in the country. Methods. The main methods used in the article were: analytical, theoretical, historical, historical-typological comparative analysis. Results. The historical dynamics of Chinese piano art is related to the professionalization of performance and composer creativity. This process is provided by the largest higher music educational institutions in China – Sichuan, Harbin, Shenyang, and Xinhai Conservatories. Many Chinese pianists, who returned to China after studying abroad and gained performance experience, joined the teaching staff of higher music educational institutions in China. Some of the musicians, returning from abroad, started new musical educational institutions. Such enthusiasts opened the Shanghai, Tianjin, and Beijing conservatories, as well as music departments at several universities. The most significant contribution to the development of piano art in China belongs to the Beijing Piano School, represented by the Beijing Central Conservatory of Music (CCMP). Many pianists, having left China, continued their activities on concert stages and in educational institutions of other countries – the USA, Canada, England, France, Italy. Each of them, with their concert performance and pedagogical successes, confirmed the high professionalism and high-quality level of musical education obtained in international educational institutions, the talent, experience and pedagogical talent of their mentors. Conclusions. Thus, the rapid rate of growth of the level of piano performance in China was ensured by activities aimed at the country’s exit from a thousandyear isolation, and a strict consistent orientation towards the achievement of world piano culture. A decisive factor in the achievements of Chinese piano performance in the 21st century is the focus on high results in mastering mastery.

The development of the art of the domra playing in Ukraine in the context of the revival of folk musical-instrumental culture at the turn of the XX–XXI centuries

The article is devoted to highlighting the cultural and educational significance of Ukrainian piano art as a means of forming the performing culture of future teachers of musical art. Ukrainian piano art belongs to the achievements of the history of world classical art and is an invaluable source of national musical culture, which has absorbed the features of important achievements of national culture. It is determined that Ukrainian piano art as a component of spiritual culture is a kind of musical and specific form of instrumental art, is a cultural and historical phenomenon, which is based on achievements and mutual influence of performing, pedagogical and creative activity. The peculiarities of the Ukrainian piano art as a cultural and historical phenomenon are expressed in the periodization of the formation and development of piano art in Ukraine, reflected in the interpretive and performing principles of the national piano school, are reflected in the educational and educational principles of playing piano playing on the basis of Ukrainian musical and educational practice. Particular attention is paid to the disclosure of the pedagogical component of Ukrainian piano art. The general tendencies in piano teaching of domestic pianist pedagogues are considered. Principles of playing the piano playing of future teachers-musicians on the basis of Ukrainian musical-educational practice are analyzed. The role of domestic educational practice of pedagogue-pianists in the process of formation of the performing culture of future teachers of musical art is substantiated. The understanding of the essence of the performing culture of the future teacher of musical art as an integrated professional-personal property, which characterizes the high level of mastering of artistic knowledge, musical-performing skills, pedagogical competencies, is expressed in the ability to artistically substantiate and pedagogically expedient interpretation of the content of a musical work and provides in conditions Performing-pedagogical activity of personal professional-creative growth.

Aflamencado practice in the contemporary piano perfoming

Piano playing is an important form of performance. It mainly consists of 3 performances, including piano solo, duet and accompaniment. The piano accompaniment is also known as the piano art instruction, and it is a widely-used form of music art performance. After years of practice, piano accompaniment has gradually formed its unique artistic charm and plays a leading role in the piano solo, playing an irreplaceable role in music performance. Piano accompaniment, because of its unique means of expression and artistic form, and its wide coverage and strong practicality, requires players to have many aspects of music knowledge and high playing skills. Therefore, it is necessary to explore the current situation of piano accompaniment teaching and the cultivation of students' piano accompaniment ability, so as to make piano graduates more suitable for the needs of social development.

Piano playing is an important form of performance. It mainly consists of 3 performances, including piano solo, duet and accompaniment. The piano accompaniment is also known as the piano art instruction, and it is a widely-used form of music art performance. After years of practice, piano accompaniment has gradually formed its unique artistic charm and plays a leading role in the piano solo, playing an irreplaceable role in music performance. Piano accompaniment, because of its unique means of expression and artistic form, and its wide coverage and strong practicality, requires players to have many aspects of music knowledge and high playing skills. Therefore, it is necessary to explore the current situation of piano accompaniment teaching and the cultivation of students' piano accompaniment ability, so as to make piano graduates more suitable for the needs of social development.

The article considers some aspects of opera and choral performance on the example of analysis of the theatrical period of creativity of one of the prominent figures of Ukrainian choral culture, founder of the choir of the State Children’s Musical Theater — People’s Artist of Ukraine, Professor Mykhailo Krechko (1925–1996). M. Krechko as the first chief choirmaster of the theater built his individual principles of work and theatrical traditions inherent in such a unique opera choir. SCMT is the second in the world and the only professional opera and ballet theater in Ukraine for children and youth).The established traditions and peculiarities of the choir’s work in SCMT are analyzed, based on the repertoire of the newly created Theater and the genre range of performances of choir artists (opera, ballet, musical, cantata and oratorio works, a cappella music performance).Formulation of the problem in general. The relevance of the chosen subject is due to the lack of basic scientific research into the life and work of the famous Ukrainian choral conductor M. Krechko. This is the first comprehensive appeal to the activities of an outstanding master of choral work, active propagandist and collector of folk songs, composer, publicist, teacher and music and public figure, who devoted his entire creative life to the development of national choral culture. A separate task is to study and analyze the basis of the traditions of opera and choral performance initiated by M. Krechko during his work at the State Children’s Musical Theater. Also, it is important to systematically study the methodology and means of educating opera choristers on the example of the work of M. Krechko. Analysis of research and publications to solve the problem. General characteristics of the life and work of Mikhail Krechko are examined in the works of O. Bench-Shokalo, M. Kravchuk, A. Lashchenko, L. Mokanu. The issues of choir and opera choir are analyzed in the works of L. Butenko, O. Letychevska, B. Pokrovsky, K. Pigrov, P. Chesnokov, which explores the functioning of the choir and the nuances of managing this process, as well as the work of specialists in the opera house.The problem of the specifics of M. Krechko’s work with the opera choir was not raised in the scientific literature, which determined the relevance of this article. The research materials of the archive of the “Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth” — programs of performances and concerts, reviews; family archival materials of the Krechko family; publications by M. Krechko and devoted to the work of M. Krechko (booklets, articles in newspapers and magazines, author’s books and reference books). Also, below are a number of personal conclusions of the author of the article while working as a choir artist under the direction of M. Krechko.The purpose of the article is to study the life and work of M. Krechko as an opera choirmaster, his methodology and practical implementation of the multitasking of choir artists in a wide range of synthesis of arts in the opera house.Conclusions and prospects for further exploration in this direction. The article explores for the first time the theme of opera and choral performance in the works of the outstanding Ukrainian choirmaster — People's Artist of Ukraine, Professor Mykhailo Krechko. The above facts from archival materials and analysis of the maestro's artistic activity allow to learn more about the master's contribution to the choral art of Ukraine and its important role in the formation of the vector of development of the State Children's Musical Theater. Emphasis is placed on the specifics and universalism of the theatrical choir. Summarizing all the above, we can say that the modern creative life of the choir Kyiv Municipal Academic Opera and Ballet Theater for Children and Youth is fundamentally based on the high artistic principles laid down by the founder of the choir — Mykhailo Krechko. The Maestro’s great love for the Theater Choir, which he called his “swan song”, high performing skills and a wide range of genres of repertoire, education of followers and like-minded people, and deep traditions established by the choirmaster are a strong foundation and guide to new artistic victories.

Piano art of Ternopil region and one of the main forms of its realization – performance, started, according to scientific sources, in the second half of the nineteenth century. This was the time when in Galicia abolished serfdom in 1848 and began the period of formation of educational and cultural organizations “Native School”, “Prosvita”,“Literary Society” and others. They became the main factors in shaping the national consciousness and culture of the local people.The most important role in these processes in the Ternopil region was played by the “Native School” society, in which groups of choral and vocal singing, artistic recitation, and playing musical instruments were organized. Actually, these circles formed a love of art in different directions, including piano music.The founder of piano art in the Ternopil region is the Polish pianist, teacher and cultural and public figure Vladyslav Vshelyachynskyi, a native of the town of Kopychyntsi, in Ternopil region. It was he who became the brightest representative of the piano movement in our study area initially.In 1876, after completing his studies at the Conservatory, Vladyslav Vshelyachinskyi moved to Ternopil to continue and improve his practical activity. He organized the “Friends of Music” Society and a school for piano lessons with him. He was the music director of these two institutions for twelve years.One of the founders of the creation of piano art in Ternopil region was also Denys Leontovych, born in Lviv in 1868. Denis’s father, Theodore Leontovych, whose family started in the village Novosilka Buchach county (now Buchach district of Ternopil region), was at one time a wellknown Lviv cultural and public figure, pianist, music critic, owner of the newspaper “Osnova”), author of popular songs at that time. He became the first piano teacher for his son.Unfortunately, Denys Leontovych’s short life did not allow him to develop his musical talent to the full, but those few years of concert activity of the drunkard deserve attention from musicologists and point to his invaluable contribution to the formation and development of the piano art of the Ternopil region, he had a special love.An important contribution to the formation and development of the piano art of Ternopil region was made by Denys Sichynskyi as a composer, pianist and accompanist. His creative activity was, first of all, connected with Ternopil region. In the initial stages of being in the land, besides creating musical compositions and managing the countryside and small-town choirs, he was involved in the promotion of piano art through his direct creation and representation as an accompanist.Denys Sichinskyi, as a creator of piano art, has realized himself in three spheres – in writing works for piano, in preparing piano accompaniment for choral and vocal works and in accompaniment for famous singers – Solomiia Krushelnytska, Evgen Gushalevych, Oleksandr Myshuga and others. It was these aspects of his creative activity that determined the formation of piano art in Ternopil region in the first half of the nineteenth century.Thus, the piano art of the Ternopil region of the second half of the nineteenth century represents a stage connected with the birth of its main forms of realization – pedagogical, concertperforming, composer-reproductive. All these forms are clearly traced in the activities of such representatives as Vladyslav Vshelyachinskyi, Denys Leontovych and Denys Sichynskyi. Each of them laid the foundations of piano art for its further development and development to the best of its creative potential. This was, first and foremost, designed to ensure that their successors made a more representative contribution to its transfer. And the piano works of Denys Sichynskyi formed a repertoire performed by the Galician pianists of that time, marked by lyricism, genre linearity and typical harmonious turns derived from traditional folk music. Overall, this stage provided the basis for the subsequent professionalization of piano art in the twentieth century.

Background. The study of Beethoven’s arrangements of folk songs touches upon the corpus of theoretical and methodological issues related to the problem “a composer and folklore”, and, accordingly, with the re-intonation of folklore in composer creativity, with the dialogue of “national and international”, “folk and professional”, “traditional and modern”. These phenomena contemporary musicology considers more often in relation to new and newest directions in the musical art, defining them in terms of “folklore”, “neo-folklorizm”, “new folklore wave”; they represent by various forms of direct or indirect appealing to folklore sources. Studying the classical legacy in the genre of folk song arrangement, theoretical musicology significantly deepens the understanding of this area of the professional composer creativity, revealing the genesis of the phenomena mentioned above. Such a range of issues is considered by A. Gnatyshin (2014), G. Golovinsky (1981), A. Derevianchenko (2005), B. Zabuta (2018), I. Zemtsovsky (1978), I. Konovalova (2007), A. Protopopova and others. Beethoven’s creativity in the context of the chosen theoretical concept is highlighted in the works of L. Kirillina, Ya. Soroker (2012) and others. The purpose of the article is to identify and characterize the principles of re-intonation of multinational folklore in the genre of arrangement a folk song in Beethoven’s creativity (on the example of the collection “Songs of Different Nations”). There are represented the structural-functional, genre, style, intonation types of analysis among the used methods of studying. Results. The main tool of dialogue between the author and the folk music is the method of re-intonation, which in L. van Beethoven’s creativity is implemented in samples of ethnically different folk song (sometimes dance) sources arrangements. The certain logics is observed in the principle of the collection assembly. So, by ethnicity, the composer alternates songs of different peoples, following the logic of contrast and unity. Within the loop, you can also find the manifestations of several more cyclization layers by different traits and the nature of the combination – mini-cycles where the national style is the principle of the choice. Songs of the same nation that are naturally related in intonation, in particular, in melodic-harmonic content, in figurative and genre traits, alternate with one another or dispersed in the collection, forming monocycles and arches (Nos. 1–3, 5–6, 8, 14, 15–16, 24, 17–18). The binary method of connection by the above criteria differs from the first type of cyclization, although it also represented by songs of same nation, but by genre and figurative characteristics these songs contrast sharply with one another, forming “unity of opposites” (Nos. 4, 22; 5, 7, 6–7; 9–10, 11–12). Such a “mini-cyclization” does not exceed more than three ethnically homogeneous songs in a row. The largest part of the collection is the five Tyrolean songs (Nos. 4, 15, 16, 22, 24), and their distribution throughout the collection is like to the principle of “a refrain”. The Songs nos. 15–16 go in succession and united by common features – the type of melody that is similar to the shepherd songs in the yodel genre, by the piano and string accompaniment texture, by the triple meter, the F major tonal basis and by the general content and character of music. The Song № 24 also adjoins by the listed characteristics to the songs nos. 15–16. The mini-cyclization one can also traces in the combination of songs of different ethnicity. Single samples of songs of different ethnicities – Nos. 13 (Swiss), 19 (Ukrainian), 20 (Danish), 21 (Swedish), 23 (Hungarian) correlate dialogically, creating affinity or contrast with their surroundings and with each other at the macro-level of the cycle. The lyrically dramatic Ukrainian song is preceded by a dance Polish song, followed by a knightly Danish song with the chorus, the next is a Swedish lullaby, and the pastoral Hungarian song is framed by two Tyrolean songs. Thus, the tendency to cyclization, based on the principles of contrast and unity, operates in the collection of both micro- and macro-level, which is responsible for the composition of the whole. Interesting for the researcher is the genre content of the collection. Some of the songs are mono-genre - these are those that have the characteristics of the song genre (name, content, melody, harmony, rhythm, texture): nos. 2, 7, 8, 9, 10, 12, 13, 14, 16, 19, 20, 21, 22. The poly genres are those that combine the features of song and dance (conventionally - dance song or song dance): nos.1, 3, 4, 5, 6, 11, 15, 17, 18, 23, 24. The composer’s creative dialogue with the folklore tradition takes place at other levels of the musical text. Beethoven adds instrumental accompaniment to the song tune in the composition of piano, violin and cello (piano trio). The function of “cementing” the form belongs to the piano, which is a constant participant of the ensemble throughout the song, as well as in the additional parts of the form created by the composer – introductory and closing ritornellоs. In addition, the piano performs the function of harmonious accompaniment, development of thematic material, is responsible for the dynamics of development on a whole scale. Indicative for the Beethoven method of folklore processing is the circle of tonalities to which the composer refers. These are the most convenient for the artist sound systems (do not exceed 1–3 key signatures) designed for a wide «consumer» and ease of performance (both vocal and instrumental). The most active dialogue of the composer with the folklore source takes place in the intonational and harmonic spheres. Obviously, Beethoven tried to be adjusting to the unknown and unusual for him musical-theoretical systems. Analyzing samples of the author’s harmonization of folk melodies, we can conclude that the German classic «spoke» with a broad international circle of songs in same language. The key decisions of the German master show a subtle understanding of the folk songs harmony: harmonizing various folk sources, the composer does not burden them with complicated harmonic sequences, in agreement with that, which is supposed in folk melody. In addition, the choice of tonality was very responsible, emphasizing the clarity and simplicity of these songs, their democratic orientation, both in relation to the performer and the listener. Conclusions. Beethoven’s principles of thinking are manifested at all levels of organization of the musical whole. The re-intonation of folklore material occurs both at the level of the form of each individual song (micro level), and at the composition level of the entire collection (macro level), which translates into a tendency toward cyclization, the formation of mini- and macrocycles, and a tendency to build holistic dramaturgy. At the genre level in “Songs of Different Nations”, re-intonation occurs due to the combination of “pure” (song) and synthetic genres (synthesis of song and dance genres in one sample). The instrumental trio accompaniment performs certain functions in the structure of the musical text (thematic development, dubbing of the vocal part, timbre saturation, harmonious component, the introduction of classical performing traditions) and is an active stylistic, genre, and dramatic factor in the сomposition. The composer, as a whole, subdues folk music material to the classical type of musical thinking.

The article substantiates the relevance of the problem of the formation of patriotism among students of children's music schools by means of epic musical works for kobza. The purpose of the article is to consider the educational work of patriotic orientation in the educational process of a children's music school, to determine the purpose, tasks, forms and methods, pedagogical conditions of patriotic education. Research methods. The following research methods are used to realize the defined goal: theoretical (analysis of scientific literature, synthesis, generalization, classification); empirical (observation, survey, study and analysis of educational and methodical documentation, plans of educational work). Results. The main task of the modern Ukrainian art school is determined, which consists in solving the important problem of implementing the value foundations of children's musical education. The definition of the concept of "Kobzarstvo" is given, which is characterized by a patriotic and civic orientation, an orientation towards the performance of author's and folk highly spiritual epic works, thoughts. It was determined that it is at school age that it is most appropriate to attract students to patriotism through the study of the highly artistic Ukrainian musical repertoire for kobza. It has been proven that the main goal of the process of patriotic education is the moral and psychological preparation of children to protect the Motherland and serve it. It is shown that studying the musical repertoire for kobza contributes both to the formation of patriotic concepts and to the improvement of students' interests and ideals. Conclusions. Therefore, the current task of Ukrainian children's musical education is the acquisition of knowledge of folk folklore, the desire to defend one's ideals, an active life position, and participation in the life of Ukrainian society. Pedagogical conditions for patriotic education of children's music schools students are substantiated: filling the educational process of children's music school with patriotic content through the use of highly artistic epic thoughts of Ukrainian professional composers and amateurs in kobza lessons; using the particular forms of extracurricular work (participation in creative competitions, Olympiads of various levels, volunteer activities, educational work in the city and region, which contributes to the development of the intellect and emotions of school pupils) in the educational process; ensuring patriotic upbringing of children in the family; introducing the elements of digitalization into the educational process of a music school with the aim of forming socially significant behaviour in a child and understanding its significance.

Statement of the problem. The purpose of this article is to consider the evolution of the creative activity of the student training collective – the Orchestra of Bayans and Accordions – and to determine the role of its founder, Honored Artist of Ukraine, Professor Oleksandr Ivanovych Nazarenko, a conductor, an outstanding representative of the Ukrainian bayan art (second half of the 20th – early 21st centuries). Relevance and scientific novelty of the study. The team under his leadership has existed for over 28 years, it has achieved significant success and acquired its own creative form, and its activities attract the attention of the artistic community and arouse scientific interest, which determines the relevance of this topic. O. Nazarenko’s composer creativity were covered by Kharkiv bayan players and scientists Yu. Dyachenko (2012), M. Plushenko (2017), S. Ptashenko (2013), I. Snedkov (2016), A. Strilets (2018), but the authors did not address to consideration of O. Nazarenko’s activity as an orchestral conductor and the problems of performing skills of the orchestra of bayans and accordions at Kharkiv National University of Arts, the head of which he is. The research methodology is based on a set of historical, genre-style and interpretive approaches. A comprehensive analysis of the activities of the student orchestra and its leader O. Nazarenko allowed to identify certain stages of professional evolution and the main directions of team development. Particular attention is paid to the consideration of O. Nazarenko’s conducting activity and the principles of his work with a student orchestra composed of homogeneous instruments. Based on the analysis of the artist’s work, the issues of specifics of teaching methods, selection of quality repertoire, peculiarities of arrangement for orchestra of bayans and accordions are investigated. Results and conclusions of the study. O. Nazarenko’s multifaceted activity as the director and conductor of the Student Bayan-Accordion Orchestra is very important for preserving in the repertoire and updating works of foreign and Ukrainian, in particular, Kharkiv, composers, and his education of young professional musicians contributes to the development of the Ukrainian folk instrumental performing. Under the guidance of the master, students master a wide range of instrumental capabilities – a bright palette of stroke techniques and techniques of sound production, smooth bellows movement, develop their ideas about working on a piece of music and learn orchestral thinking. Thus, the main task of the Student Bayan and Accordion Orchestra at Kharkiv National University of Arts is to present a qualitative repertoire, master various orchestra arrangement techniques and peculiarities of filigree ensemble performance. For the first time, a complete repertoire list of the orchestra was compiled, which gives an idea of the scale and content of its activities, demonstrates the principles of selection of works that reflect the artistic taste and preferences of the conductor.

The study aims to substantiate that works for one hand can reveal the potential of the piano to a greater extent, as well as its genre and style range, becoming an original sphere not only of musical performance, but also of composer creativity in general. The paper presents the essence of the phenomenon of compositions for one hand in piano art; identifies the features of the embodiment and performance of works for one hand and genres of piano repertoire for one hand. As a result, it can be concluded that the emphasis on the technical side is often the peculiarity of the embodiment of works for one hand. These compositions by their very nature imply virtuosity and this parameter comes to the fore. Despite the genre and stylistic diversity of compositions written for one hand, in general composers are characterised by a noticeable common tendency, a creative desire to reveal the capabilities of performers, i.e. their virtuosity.

The purpose of the research is to study the heuristic trends of music computer technologies in the works of contemporary composers. The research methodology is to use musicological, system-structural, logically-constructive and heuristic methods. This methodological approach allows analyzing the creativity of modern composers, in the projection of the heuristic music computer technologies use. The scientific novelty of the research is the presentation of the specificity of the author's modern technique of the Ukrainian composer Alla Zagaykevych, whose specificity has been determined by musical computer technologies. Conclusions. The use of heuristic music computer technologies in the works of contemporary composers and Ukrainian artist Alla Zagaykevich has shown that the existing software capabilities allow carrying out sound experiments aimed at the search for new means of musical expression, organic integration of electronic sounds with traditional acoustic instruments. This kind of integration of traditional directions with innovative ones opens up unlimited perspectives in the composers’ creative work.

Forming a spiritual atmosphere, artistic tastes, style and genres in piano art, Chinese culture has only been enriched by the diversity of the cultural palette. But the professional piano art of China began to form only during the last century on the basis of European traditions and next to the original national musical culture.