The purpose of the study is to substantiate the concept of imagophony within the postmodern perception of the imagological aspects of musical creativity. The research methodology is based on the search and analytical, semantic and musicological methods of intonation, harmony and instrument analysis. The scientific novelty of the study is the introduction of the term imagophony and its definition into the scientific discourse. Conclusions. The article examines the use of the term imagology and its derivatives (imagemes, imagothemes, imagotypes, etc.) from the literary discourse to the multidisciplinary one, shows the transformation of the semantics of the term imagology from a reference to the image of the Other as belonging to a different (concerning the author) national culture to a flexible one that adapts to the intentions of the author of the study. The article analyses the range of musical works that have received imagological coverage in scientific discourse and applies the terminological apparatus to them. Based on the analysis, the author proposes to introduce the term imagophony to denote sound images representing the established ideas in the musical culture of one nation about the musical culture of another nation. The stages of the historical evolution of imagophony are outlined: protoimagophony (some works by G. F. Handel), early imagophony (W. A. Mozart’s Turkish Rondo, L. van Beethoven’s song cycles of European peoples), classical imagophony (G. Puccini’s operas Turandot and Cio-Cio-San and some other Romantic and post-Romantic periods), post-imagophony (works of the late twentieth and early twenty-first century of the neo-folklore tendency), overcoming imago-phony (folk rock at a mature stage of development). The article shows the peculiarities of the imagophonic composer’s approach in interacting with ethnophonisms and modern instrumental techniques. Prospects for further branching and semantic expansion of the imagological terminology are outlined.

The purpose of the research is to study the archaic features of the Nanai musical language, which is one of the genres of authentic musical folklore of the Agbaba historical region. Agbaba is one of the ethno-cultural zones of Azerbaijan, distinguished by its diverse genre system of musical folklore. It should be noted that the Agbaba region is now part of the Republic of Armenia and has been called Amasia since 1930. Historically, this region was inhabited by ancient Turkic tribes, which played a significant role in the ethnogenesis of Azerbaijan, and until the end of the twentieth century was famous for its cultural and ethnographic traditions. Research methodology. The article analyses from the semiotic point of view the samples of one of the genres of authentic folklore of the region – Nanai. According to the author, the use of semiotic methods of analysis can help to identify archetypal patterns of samples of the Nanai genre. Based on the analysis of the fretting and metro-rhythmic features of the musical language, the general typological model of the studied genre is determined. The scientific novelty of the research is that for the first time in ethnomusicology, the semantic analysis of samples of the Nanai genre, which was an integral part of the ceremonial culture of ancient Azerbaijanis, is carried out in this article. Conclusions. Based on the collected musical and ethnographic material and the analysis, it was concluded that the peculiarities of the Nanai musical language played an important role in the semantic content of various rites, distinguished by their syncretic nature. Notably, signs of syncretism are also manifested in the peculiarities of the musical language of Nanai samples that have survived to this day. For example, some kinetic musical signs testify to the applied function of Nanai samples. This fact eloquently testifies to the fact that the Nanai genre is of considerable interest from the point of view of modern ethnomusicology.

The purpose of the article is to identify the defining aspects of the artistic and figurative performance interpretation of the part of Rudolf in the opera La Boheme by G. Puccini – a lyrical hero embodied in the tenor timbre. The research methodology is based on the following methods: analytical (study of art and musicological literature on the subject); method of performance analysis (analysis of Rudolf’s part in the context of identifying genre and style features, characteristic musical and expressive means, and place in the drama of the performance); comparative method (comparison of interpretations of the role of Rudolf performed by prominent singers to determine the common and distinctive features of the image “reading”), empirical method (covering the author’s own experience of rehearsal and stage performance interpretation); method of generalisation (to substantiate the conclusions of the study). The scientific novelty of the publication lies in the proposed research angle: attention is focused on the image embodied in a certain vocal timbre, and an analysis of the panorama of performing interpretations of the tenor part, a landmark in the creative heritage of G. Puccini, is presented. Conclusions. G. Puccini managed to create a theatrical reality where the “individual” prevails over the “typical” and “characteristic”. The composer carefully considered the principles of revealing the inner world of the hero, his interaction with other characters and the surrounding reality. A special place in Puccini’s “musical theatre” is occupied by the role of the tenor, who realises the “lyrical principle” in the male character, which is important for the composer (young men in love, creative natures – people prone to emotional, spontaneous actions). An analysis of the interpretations of the composer’s iconic role of Rudolf performed by outstanding singers reveals the value of a performer’s interpretation based on a deep understanding of the author’s style and proves the importance of the emergence of a syncretic singer-actor who deeply understands the drama of the performance and the place of his or her role in the overall concept of the opera.

The purpose of the research is to highlight the peculiarities of the artistic interpretation of A. Wedel’s liturgical works, on the example of the artistic presentation of the Liturgy of St. John Chrysostom (C-dur). The research methodology is based on the universal methods of scientific knowledge: induction, deduction, synthesis, structural and comparative analysis, cultural reconstruction, principles of objectivity and historicism. The scientific novelty of the research lies in the formation of a clear idea of artistic and interpretive approaches to the performance presentation of A. Vedel’s liturgical works and the specifics of the use of the composer’s liturgical works in modern liturgical and concert practice. The article is the first to propose an original artistic concept of a concert and performance interpretation of Artemius Vedel’s Liturgy in C-dur. Conclusions. The research has revealed that sacred musical liturgical imagery was for A. Vedel a source of reflection of his religious sentiments and at the same time a means of expressing an individual attitude to real-life events, actualised through various compositional vocal and choral means. The publication proves the following points: A. Vedel’s liturgical works are based on the traditional principles of Orthodox liturgical practice and are an organic part of the composer’s church music heritage; the interpretive and performing algorithm of choirmaster’s work on A. Vedel’s liturgical works, and in particular, the C-dur liturgy. Vedel’s liturgical works, especially the C-dur liturgy, should aim to reveal semantic subtexts and associations in the composer’s creative intentions, characterising the composer’s psychological personality and clarifying the religious and philosophical content inherent in the score.

Modern interpretations of Gabriel Fauré’s Pavane demonstrate the artistic potential of the work. The variety of performances (from large orchestral and choral ensembles to chamber ensembles) shows the wide possibilities of the composition. The composer’s and performer’s versions of B. McFerrin’s compositiona and performing versions reveal a tendency to preserve the author’s text, despite the performance of the main melody by voice. The version for guitar and string quartet arranged by Thomas Koenigs and performed by the Accord Quintet, demonstrates a performing interpretation with the composer’s reworking of the work. The purpose of the research is to reveal the expressive possibilities of Gabriel Fauré’s Pavane and to characterise the specifics of his interpretation. Research methodology. The article uses the following methods: theoretical – in analysing the studies of domestic and foreign authors and available information sources; synthesis method – to establish the links between the elements identified during the analysis in order to establish a holistic concept and generalise the information obtained. Scientific novelty. For the first time in national scientific thought, the peculiarities of the performing and composer’s interpretation of G. Fauré’s Pavane are considered, and its expressive means and artistic potential are highlighted. Conclusions. Currently, there are many modern interpretations of G. Fauré’s Pavane. These performing versions are adapted for different performing groups. The modifications that take place with the composition illustrate the extraordinary artistic potential of the work. Despite the changes in the performing cast, tempo and texture, the work has not lost its relevance and popularity in the present day. The components, that are most frequently changed, are tempo, arrangement, and textural and structural modifications.

The purpose of the research is to analyse the genre and thematic, musical component and peculiarities of the transformation of emigrant songs from the collections of folk songs Introduction to the Ukrainian-Canadian Immigrant Folklore Cycle and Ukrainian Folk Songs from the Prairies by R. Klimasz (Canada). The research methodology is based on the principles of objectivity, systematicity and historicism, which is supported by the historical and cultural approach. The musicological, textual, stylistic, and contextual analyses are applied, which reveal the musical, literary, historical and cultural dimensions of the evolution of emigrant songs, and also allow us to identify the transformation of emigrant songs in new socio-cultural conditions. The scientific novelty of the research lies in the introduction into scientific circulation of the collections of sheet music of the Canadian-Ukrainian folklorist R. Klymasz, which contain samples of emigrant songs of Ukrainians in Canada as authentic musical folklore of Ukrainian immigrants in the context of studying the transformation of the musical folklore tradition of Ukrainians in the North American diaspora. Conclusions. The emigrant songs collected and published by R. Klymash, created among overseas emigrants, are part of the cultural heritage of the Ukrainian diaspora in North America, which consists of epic stories, song lyrics, and humorous and satirical dance songs. The folk song materials clearly demonstrate the current themes, melodic, rhythmic and harmonic aspects of the musical component, and the contexts of performance. The musical and poetic style of the songs expresses the peculiarities of the music of the western region of Ukraine with its respective linguistic dialects. Examples of emigrant folklore reflect the diachronic development of the song culture of Ukrainians in the diaspora from the creation of emigrant songs as authentic examples of immigrant folklore with gradual modification to complete assimilation into another cultural environment, which is expressed in the change of content of the works, the use of macaronic elements in the texts, and later – melodic borrowings.

The purpose of the research is to examine the creative path of Eduard Brylin, focusing on the factors that became the foundation for forming his professionalism and ensuring the universal nature of his creative activity. The research methodology is based on the biographical method and the model of a universal creative personality in the aspect of activity universalism (according to O. Komenda). The scientific novelty of the research lies in studying the life chronology of the composer Eduard Brylin as a universal type of musician, namely a universal composer. Conclusions. The basis on which the universal creative figure of E. Brylyn was formed was laid at the initial stage of his life. The musical environment of the family, rooted in national traditions, shaped Eduard’s musical and aesthetic preferences. Hard work, support and assistance from his parents, the professionalism of his teachers and mentors, and his dreams ensured his rapid growth in the piano field. Performing skills enabled the musician to present his work and be a concert performer. His thorough piano training allowed him to create methodical and highly artistic examples of piano pedagogical repertoire for children and youth and to try himself in the piano concerto genre. In the composition E. Brylin continued the traditions of his mentors, choosing to rely on folk song sources, appealing through A. Shtogarenko to the works of M. Lysenko. His intelligence and natural introversion led him to gravitate towards chamber genres, in which the lyrical facets of the composer’s personality were fully revealed. We define the 2000s as an acmeological period of the musician’s creative work because this time was fruitful in the implementation of various types of musical activities, which emphasises the universal nature of the artist’s creative activity. Loyalty to his musical and aesthetic ideals became the starting point for the realisation of Eduard Brylin’s creative potential as a universal composer.

The purpose of the research is to introduce the manuscript of the “Bandura Playing Handbook” by an unknown author (Augsburg, Germany, 1951) into scientific circulation in the context of providing educational and methodological publications on the Ukrainian art of bandura playing abroad. The research methodology is based on the principles of historical, cultural, textual, and axiological approaches. Methods such as historical and typological, analysis and synthesis, music textual method, and musicological analysis were used, which made it possible to identify not only trends in the evolution of teaching and methodological approaches to teaching bandura playing but also the personological aspects of their formation. Particular attention is paid to the need to systematise not only the methods in printed editions of handbooks and self-tutorials on bandura but also manuscript rarities that remain in public and private archives and require proper scientific and methodological understanding. The scientific novelty of the study is determined by the introduction of the analysis of the manuscript “Bandura Playing Handbook” by an unknown author (Augsburg, Germany, 1951), created during the so-called camp period in Germany, where displaced persons (DP – Displaced Persons) were kept. The music manuscript is part of the documentary materials of the Archives of the Ukrainian Free University (Munich, Germany). Conclusions. The study analyses the handbook materials from the methodological and fingering points of view, the sequence of mastering the instrument, the formation of the bandura repertoire, and its comparison with similar examples in Ukrainian musical art. It determines the value of the handbook from the point of view of popularising the Ukrainian national musical instrument in the conditions of emigration and spreading the performing traditions of bandura art.