Piano Cycle Research Articles

Piano cycles of Italian composers of the late 19th – first half of the 20th century: on the problem of programming.

The object of study in this article is the piano work of Italian composers of the late 19th – first half of the 20th centuries. The subject is programming in instrumental music, represented by the genre of the piano cycle. Based on the definition of programming and the classification of types, developed in the works of domestic musicologists M. Aranovsky, L. Kazantseva, Yu. Khokhlova, the author reveals the features of its implementation in the cycles of famous Italian composers F. Busoni, J. Malipiero, A. Casella, M. Castelnuovo-Tedesco, created during the historical period under study. Particular attention is paid to considering the issue of continuing the tradition of embodying programming in cycles, established by romantic composers, as well as identifying national features characteristic of Italian art as a whole. The article uses an integrated approach, including systemic-historical and comparative methods of analysis. The author also turned to the method of musical theoretical analysis. The novelty of the research lies in the development of one of the important and relevant areas of musicology associated with the synthesis of arts, within the framework of solving a specific problem: the implementation of various types of programming. The author’s special contribution to the development of this topic is the introduction into scientific circulation of new works of Italian masters that have not previously been studied, the consideration, using their example, of various types of programming in close connection with the tradition that has developed in European art, and the identification of ways to update it. The most important feature is the integrity of the cycles, which is formed at the emotional, figurative, stylistic, compositional, and tonal levels. A conclusion is drawn about the originality of the piano cycles of Italian composers, which is manifested in close connection with national art.

Piano Pieces for Children in Serhiy Bortkevych’s Musical Heritage

The article reveals the artistic and pedagogical potential of piano music for children by the Ukrainian Diaspora’s prominent composer Serhiy Bortkevych. For this purpose, we analysed the piano cycles Little Traveller, Marionettes, Musical Wonderland (based on H. H. Andersen’s fairy tales) and From My Childhood. We specified the stylistic features of his music, didactic and educational tasks, which can be determined by working on small pieces of lyrical, dance, scherzo and march genres with their inherent modest scale and simplicity of presentation. S. Bortkevych tends to the chamber type of expression, modesty of texture, and absence of external effects, which reveals the composer’s commitment to the art of the Biedermeier. This component of S. Bortkevych’s creative personality is complemented by his constant interest in the world of childhood, both in terms of imagery and content, as well as didactics and education. All of S. Bortkevych’s children’s piano cycles clearly demonstrate the great importance of programmatic model in revealing the figurative content of piano pieces, in which nature paintings, portrait sketches, emotional experiences, travelling motifs, cities and countries, fairy-tale images, puppetry, etc. take an equal position. Up-tempo pieces (toccata, scherzo) require the same work as etudes, but with the difference that in etudes, artistic tasks are auxiliary, while in music pieces they are the main goal. In dance pieces, the basis for the work is the need to identify the specificity and character of the dance (waltz, mazurka, polka, hopak) and the originality of the rhythm. Lyrical pieces develop musicality, emotionality, artistry and performing initiative due to the musical language accessibility, vivid imagery and laconism of the form. The works of this group are of pedagogical value as they are aimed at gradual mastery of certain piano skills and techniques. S. Bortkevych’s compositional achievements deserve attention in terms of including his heritage in the educational repertoire of modern music institutions to deepen the educational and cognitive process of children’s and youth’s musical and aesthetic education.

Etude Genre in the Works of Contemporary Pianists-Composers: Traditions and Innovation

The article is devoted to the study of the etude genre, which in the work of domestic composers-pianists of the second half of the twentieth – early twenty-first centuries became an experiment and capture of a personal artistic picture of the world. The focus of the article is two opuses by contemporary pianist composers М. Kollontai and E. Chernov. As a result of the cycle of analysis of etudes op. 55 Kollontai, the author comes to the conclusion that this work continues the line of Liszt’s transcendentalism. Particular attention in this cycle is aimed at considering religious and spiritual themes expressed at the verbal level. The composer’s artistic comments on the etudes, the epigraph from the poems of the poet and Catholic priest Geselle, the afterword to the plays, explain and explore the conceptual field of the program composition, which embodied New Testament stories related to the way of the cross of Jesus Christ on earth. For the piano cycle – Nine etudes-pictures op. 11 by Chernov, nine etudes-pictures op. 39 Rachmaninoff. In the course of the analysis, it is noted that the cycle of etudes by Chernov is characterized by the following features: a concentric type of composition with an aspiration to the finale, the presence of a lyrical core, the development and interweaving of two psychological modes (lyrical and dramatic), which gives the cycle integrity and harmony, paired grouping of etudes according to the principle of contrast, the presence of leitmotifs, as well as leitgenres (nocturne and waltz) that permeate the piano cycle. The article emphasizes the idea that interest in such a genre of improvisational mix as «etude-fantasy» is found mainly in the legacy of virtuoso composers-pianists of the 19th-20th centuries, striving in their work to prolong romantic traditions.

Piano Cycles “Children's Music” No. 1 and No. 2 in the Works by Valentyn Sylvestrov: Distinctive Features of Interpretation of the Concept of Childhood

Relevance of research. Even though a lot of scholarly research has been devoted to study Sylvestrov’s music, most of it does not have a thorough analysis as it simply repeats the composer's own remarks about his work. Therefore, there is a need to update methodology of researching Sylvestrov's music and to find new approaches that will consider both, contemporary as well as earlier composed music. One of such insufficiently researched works is piano cycles called “Children's Music”. Its detailed and more thorough research will allow to better understand the nature of the stylistic reversal that took place in Sylvestrov’s music in the early 1970s. Moreover, except for Sylvestrov, no other composer from the “Kyiv Avant-Garde” group composed similar children-themed cycles. This reinforces the significance of Sylvestrov’s Piano Cycles “Children's Music” and encourages further research of the composer's vision of the childhood notion and its features.
 The purpose of the article. To consider scholarly prior research of the two cycles of “Children's Music”, and to test new approaches to identify the nuances of the composer's vision and his interpretation of the childhood concept.
 Methods. The following methods were used in the research analysis: (1) analytical, that includes the analysis of existing study, views and findings, analysis of the logical idea of the “Children's Music”); (2) semantic, that includes analysis of the cycles’ content idea and the composer's musical interpretation of the childhood concept); (3) comparative, that includes the review and comparative analysis of the cycles. (4) To better convey the nuances or specifics of the composer's vision of the concept of childhood and its musical expression, the researcher of this paper uses the elements of Eric Berne's transactional analysis method and Neil Postman's theory of childhood.
 The results and conclusions. It will be improper to dissect these two cycles of “Children's Music” into “music about children” and “music for children” because it negates the opportunity to reveal the specifics of the composer's musical interpretation of the concept of childhood. In Sylvestrov's view, childhood is the past that cannot be changed or erased because it is an integral part of one’s personality. At the same time, childhood is not exclusively the world of children that is disconnected from adulthood. The two worlds—childhood and adulthood—overlap and merge, and create a new integral unity that is an adult child who, due to childhood experiences, rebuilds himself in the present and achieves a new level of fulfillment to move forward. This reliving and rebuilding of the past childhood experiences to renew the present and find a possible future in adulthood was expressed in Sylvestrov's musical style at the time: the composer “reinvented” the old musical tradition and its style, and found ways to interact with the style of the present (commonly known as “avant-garde”). These two cycles of “Children's Music” may be regarded as the beginning of Sylvestrov's new musical sound and his original approach to music. The later works of Sylvestrov finally normalized and conceptualized the stylistic elements that the composer developed in the context of using the experience of childhood as a re-establishment restoration of integrity. Therefore, further research of the expression of childhood in Sylvestrov's music and analysis of the child-adult interconnection disposition using Sylvestrov’s musical expression is needed.

Rustem Yakhin. Music for children: on the question of the embodiment of the national

The article reviews the children’s music of the outstanding Tatar composer Rustem Yakhin. Three piano cycles (“Three Pieces”, “Pictures of Nature”, “Summer Evenings”), individual children’s pieces and arrangements of folk songs are analysed. A characteristic feature of Yakhin’s work is the synthesis of European traditions with elements of Tatar musical folklore. The characteristics of the implementation of the national style in children’s music are considered. The originality of the melodic, rhythmic and harmonic structures chosen by the composer is emphasized.

In Search of Lost Time in Word and Sound: about the Influence of Marcel Proust on the Work of Reynaldo Hahn

In the late 19th century two young and original artists — Marcel Proust, who worked not only as a writer, but also as a journalist (a music critic, as well), and Reynaldo Hahn, a composer, music critic and public figure, — fall into the orbit of mutual influences. Having remained friends (which can be seen, in particular, from their correspondence) up until Proust’s death, they have maintained their artistic dialogue in one way or another. As a result of this, a number of Hahn’s compositions dedicated to Proust appear at that time, as well as the cycle Portraits d’artistes – four piano pieces by Hahn with declamation of texts from Proust’s early cycle with the same title. The composition presents a peculiar double ekphrasis, since it portrays four baroque artists (Albert Cuyp, Paulus Potter, Anthony van Dyck and Antoine Watteau), using poetic and musical means, generating synthetic images-metaphors. Hahn’s other compositions permeated with Proust’s aesthetics is his piano cycle Le Rossignol éperdu, the pieces of which were composed at the same time as the first volume of In Search of Lost Time was written. Unifying into a certain resemblance to a cycle, Hahn’s pieces are in effect miniature sketches of images that are different in their nature (poetic, pictorial, architectural, natural, mythological, etc.), affixed with epigraphs and other verbal commentaries. The composition demonstrates the stylistic features essential to the French Belle Époque: passéisme, ornamentality, impressionistic hearing of sound-color, as well as a special attitude towards time. In the outcome, this results in a compilation-cycle continuing the romantic tradition of the traveler’s album (Franz Liszt), turning out to be concordant with compositions of Hahn’s contemporaries (in particular, Debussy’s Preludes) and, in addition, presenting an original musical metaphor of Proust’s novel.

Piano cycles “Children’s scenes” by Robert Schuman and “24 children's plays” by Viktor Kosenko: imaginary and dramaturgical parallels

Piano cycles “Children’s scenes” by Robert Schuman and “24 children's plays” by Viktor Kosenko: imaginary and dramaturgical parallels

Romantic Traditions in Alessandro Longo's Piano Cycles

The object of research in this article is the piano cycles of the Italian composer and pianist Alessandro Longo (1864-1945). The subject of the study is the continuation and development within the framework of this genre of romantic traditions laid down by romantic composers F. Chopin and R. Schumann. Alessandro Longo turned to writing piano cycles throughout his life. These works are distinguished by significant artistic merits. The author of the article examines in detail such aspects of the topic as the creation of the integrity of the cycle on the basis of tonal, figurative-emotional, genre connections between the plays. Within the framework of the suite-type cycle, he reveals the features of programmaticity found in the names of the plays and their arrangement in cycles. Special attention is paid to the analysis of piano cycles of etudes, which are interpreted by Longo not so much as a genre aimed at practicing techniques to improve professional skills, but as a sketch, romantic piano miniature. The author uses an integrated approach, including system-historical and comparative methods of analysis. The basis for the study of the research was the method of musical theoretical analysis, including thematic, stylistic, structural and compositional aspects. The author's significant contribution to the study of the topic lies in the introduction to musicological usage and understanding of a significant layer of Italian musical culture of the late XIX – early XX century. Alessandro Longo's piano cycles, which are in demand in the performing practice of Western European musicians and are of interest for pedagogical practice, are little known to domestic performers and have not been considered in musicology. This publication is the first study of A. Longo's piano cycles in the light of the implementation of romantic trends. As a result of the analysis, the author comes to the conclusion that the piano cycles of the non-sonate type by A. Longo continue the established traditions in the implementation of this genre, which is manifested in the appeal to certain principles of cyclization: tonal logic, genre, tempo, tonal, emotional-figurative connections between the pieces. At the same time, they reveal an identity peculiar to both the Italian national culture as a whole and to this author, which is manifested in melodiousness, melodiousness (including in cycles of sketches), as well as emotional saturation and theatricalization.

Роль фортепианных циклов современных российских композиторов для детей в развитии музыкального интереса обучающихся китайских музыкальных школ

The aim of the study is to determine the pedagogical potential of works written by modern Russian composers for piano in the process of teaching children at a music school in China. The paper analyses the educational orientation and artistic value of piano works by Russian composers for the effective inclusion of a wealth of musical material created by Romantic composers in the process of teaching young pianists in China. The appropriateness of including works of piano music by contemporary Russian composers for children in the pedagogical repertoire of Chinese music schools is discussed as a working hypothesis. The scientific novelty of the study lies in substantiating the effectiveness of applying the integrated approach, which consists in the unity of the performing and emotional-cognitive aspects of piano skills formation to develop musical interests of students at the Wuhan School of Arts. As a result, it has been proved that the inclusion of piano cycles by modern Russian composers for children in the educational process of a school of music arts is an effective factor in the development of students’ musical interest.

ТЕМА ПАМЯТИ В ТРИО МИХАИЛА КОЛЛОНТАЯ «ДЕСЯТЬ СЛОВ МУСОРГСКОГО НА СМЕРТЬ ВИКТОРА ГАРТМАНА»

In the spiritual life of a person, remembrance plays a significant role. The resurrection of the priceless past experience of one’s own and someone else’s opens the way to comprehension of the present, one’s own Self. Artists strive to reflect the amazing ability of a person to cross the border of the real and sacred worlds in memory. In the musical art of the second half of the XXth — early XXIst centuries, the theme of memory is embodied through a dialogue of compositions from different eras, traditions, concepts. In this vein, the article examines the unique composition by our compatriot and contemporary Mikhail Kollontay “Ten Words of Mussorgsky on the Death of Viktor Hartmann” for piano, cello and violin. Created in the wake of Mussorgsky’s piano cycle “Pictures at an Exhibition” and the International Competition and Festival of Arts in Vienna (1993), the trio embodies the journey of human memory along the paths of the afterlife. Reflecting the aesthetics of postmodernism and not belonging to the sphere of sacred music, the composition is devoted to the key themes of “life and death” and “salvation through repentance” for the Russian Orthodox consciousness. It intricately intertwines intra- and extramusical components (title, titles of plays, quotations from literary sources, artistic artifacts, comments in the author’s letters, etc.), which form a dialogue between the “alien” and the “own”, the past and the present, the secular and the spiritual. The analysis of the timbro-sonic side, intonation vocabulary, thematicism and its compositional and dramatic organization reveals vivid signs of the poetics of memory. They build an original concept of the trio, which demonstrates its enduring value in the Russian and, wider, world cultural space. The article is addressed to professional musicians, postgraduate students and specialists in the field of musicology.

ФОРТЕПИАННОЕ ТВОРЧЕСТВО Р. ХАСАНОВА В КОНТЕКСТЕ СТИЛЕВЫХ НАПРАВЛЕНИЙ МУЗЫКАЛЬНОГО ИСКУССТВА ВТОРОЙ ПОЛОВИНЫ XX ВЕКА

The article is devoted to a significant date — the 75th anniversary of the birth of the famous Bashkir composer Rim Khasanov, whose piano work has long remained outside the scope of musicological analysis. The composer's work in the field of piano music coincided with the time of changes in the country's musical art, reflected in a new attitude to folklore. During these years, the composer's thinking was shifting towards mastering deeper layers of folklore sources, which was facilitated by the formation of a new view of the surrounding world, leading to a special approach to the selection of means capable of adequately reflecting modern problems of being. In addition, the XXth century opened up the aesthetics of jazz to the music of Europe and Asia, as well as the inclusion of folklore material into the context of European and jazz traditions. The process of penetrating innovative compositional means in the works of Bashkir composers took place with due regard for national specifics. For the piano art of Bashkiria of the second half of the XXth century, the interest in jazz stylistics was quite natural. This interest was most clearly manifested in R. Khasanov's "Concertino for Piano and Orchestra", which for the first time synthesized Bashkir intonation vocabulary and classical foundations of form construction with specific features of jazz aesthetics. At the same time, the works of the 1970s – 80s expressed a desire to bring the musical language closer to the intonations of the human voice. This trend was reflected in the piano cycle "Temperaments" by R. Khasanov. The works created by the composer in the second half of the last century reflected the stylistic tendencies of the era and were at the forefront of the development of Bashkir piano art of those years.

«ДЕТСКИЕ СЦЕНЫ» РОБЕРТА ШУМАНА: ГРАНИЦЫ, ОБРАЗЫ, ДВИЖЕНИЯ

The article is devoted to Robert Schumann's piano cycle "Children's Scenes". Unlike other cyclical works of the composer, there is no bright contrast, virtuoso beginning, duality of images in it. At the same time, the expressiveness of the musical "characters" presented in brief sketch plays is extremely characteristic and vitally reliable. "Children's Scenes" is a program composition. This is reflected in the title of the cycle and in the titles of the plays. The tempo and character designations given at the beginning of each piece, as well as performance instructions (leagues, strokes, accentuation marks) guide the interpreter's imagination. The analysis of texture, harmony, forms of movement, interactions of rhythm and meter allow us to reveal the details of each musical "portrait". Observing oppositions – quiet and noisy, slow and fast, joyful and mournful, serious and playful, playful and dreamy, adult and child – reveals the poetics of boundaries that form the entire cycle. The boundaries that frame each piece require a certain strong-willed overcoming both during the transition from one piece to another, and throughout the sound of music. The author and the "world of childhood" revealed by music are always separated. Also, the performer, overcoming the boundary of the sounding image, remains a bystander. The poetics of boundaries allows you to enter the imaginative world of "Children's Scenes", to see the edges separating one image from another, to find the right tone of sound, to realize the special author's reflection in each turn of the intonation plot.

ОТ ОПЕР И КОНЦЕРТОВ К «ПОСЛОВИЦАМ» И «ФРАГМЕНТАМ»: ЖАНРОВЫЕ ЭКСПЕРИМЕНТЫ РОДИОНА ЩЕДРИНА В XXI ВЕКЕ

The article is devoted to Rodion Shchedrin's genre experiments in the last two decades. During this time, the composer has created a large number of works covering many typical genres, mixed compositions and new, original musical genres. Among them are operas (4), concerts (5), a concert symphony, piano cycles (4), a vocal cycle, a sonatina, variations, numerous program orchestral and chamber-instrumental compositions, choral miniatures and cycles. At the same time, none of these areas of creativity looks traditional in the catalog of Shchedrin's opuses of recent decades. The article examines the author's versions of the concert genre, interesting varieties of opera genres from the composer's viewpoint, unusual interpretation of the vocal cycle genre and mass, musical interpretation of the Russian folk proverbs, as well as genre modulations; it emphasizes original varieties of symphonic program music, such as a symphonic or dramatic fragment, symphonic etudes, symphonic fresco. In exploring Shchedrin's innovations in the genre sphere, the author analyzes genres or genre varieties that were created by him and have not previously appeared in the works of composers. These are the genres of musical hagiography (choral opera "Boyarynya Morozova"), musical reading ("Adventures of a Monkey"), musical proverb (choral cycle "Proverbs"). As a result of the study, it is concluded that Shchedrin's mobile genre system can only be considered in terms of the mobile interaction of intersecting genre signs.

Impulzy historického odkazu Marie Szymanowskej a jej inštruktívneho cyklu „Vingt Exercices et Préludes pour le Pianoforte“

The article deals with the forgotten historical legacy of the distinguished Polish female piano virtuoso and composer Maria Szymanowska (1789-1831) and her inspiring instructive piano cycle „Vingt Exercices et Préludes pour le Pianoforte“ (Twenty Exercises for Pianoforte).

Soirées musicales, Op. 6 by Clara Schumann: compositional and dramaturgical principles of the cycle

The relevance of the article. Clara Wieck-Schumann is one of the most famous female composers today, an outstanding artist of the XIX century. A significant amount of musicological researches has been devoted to her performance and compositional activities, and the recognized interpreter of the music of Robert and Clara Schumann, the Belgian pianist Joseph de Benhouwer, recorded all of her piano opuses. However, some certain issues related to the specifics of C. Schumann’s compositional work still require scientific research.
 The purpose of the article. Determination of the specifics of the compositional and dramaturgical solution of the program cycle of C. Schumann’s piano miniatures Soirées musicales, Op.6, which turns out to be one of the bright examples of this genre in the artist’s work and currently requires a comprehensive scientific research.
 The methodology. It is based on an integrative approach, and involves the use of analytical, systematic, structural-functional, comparative and inductive methods.
 The results. The cycle of piano miniatures Soirées musicales, Op. 6 is distinguished not only by its scale but also by its more pronounced programming. Unlike the other two piano cycles by C. Schumann, namely Quatre pièces characteristiques Op. 5, Quatre pièces fugitives Op. 15, which are rather a collection of diverse pieces united only by a common name, Op. 6 shows a certain dramaturgical line of development. The dramaturgy of the cycle is united with the help of a tonal arch, which is formed by a common tonality for 1 and 6 pieces. The miniatures represented in the cycle are quite diverse in their figurative structure.
 Conclusions. Among the important compositional and dramaturgical principles of building a cycle are the unification of diverse material from a thematic point of view with the help of intonation relationships or certain rhythmic formulas, comparison within miniatures of the same tonality, in which the middle sections of the form are usually written, stand out.
 The practical significance. The material of the article can be used in the further study of the specifics of C. Schumann’s compositional style, as well as in the study of the artist’s works in special piano classes, passing theoretical courses on the history of music and analysis of musical works.

Constraint and Freedom. Kodály: Children’s Dances and 24 Little Canons on the Black Keys

"The main goal of the article is to examine the constraints and freedom of the composer while using exclusively the notes of the pentatonic scale. For this purpose, we present Kodály’s two piano cycles written on the black keys from different perspectives. In connection with the cycle 24 Little Canons on the Black Keys the use of one-line letter notation pieces in solfege lessons will be introduced. From the other cycle, Children’s Dances, we analyze pieces in which elements from Hungarian folk music or verbunkos can be detected. Keywords: Kodály method, pentatonic scale, piano pieces, Hungarian folk music "

Unique features of the performing style of Ivan Karabyts 24 preludes for piano

The article attempts to understand the legacy of Ivan Karabyts from the perspective of modern piano performance, in particular his landmark work 24 Preludes for the Piano with comprehensive analyses of the composer’s creative method, specifics of the artist’s stylistic decisions in the field of piano music, interpretive analysis of the piano cycle 24 Preludes…, which will uncover a wide field for the stage performance of this work and its role in the establishment of the distinctive performance style of Karabyts’ works. That is why cycle 24 Preludes for Piano by Karabyts paints a wide visual and sonic world, which is quite difficult for a pianist to implement. The creative and individualized approach of the pianist should absorb a wide range of figurative and content saturation, often sharply contrasting. For the performer, it remains important to implement the author’s concept of the series’ pieces by focusing on three fundamental artistic layers — folk-musical thinking and folklore genres, stylistic elements of the music of outstanding masters in a retrospective implementation, some features of those styles that exist and develop in parallel with the so-called serious music (jazz, pop music). In addition, the presence of such a diverse foundation determines not only the versatile coverage of the genre content open for the prelude but also the ramification of cross-semantic connections between the parts of the cycle

Artistic Projects of Integrative Type: Research and Performance Aspects

The purpose of the article is to consider the possibilities of using new educational technologies in distance and blended learning, in particular the creation of integrative art projects as in the case of representaing the creative personality of Vladyslav Zaremba as a Ukrainian composer of Polish origin. The research methodology consists in the use of historical-comparative and personalistic approaches, as well as the activity approach from the point of view of art pedagogy. The results of the experimental work prove that the involvement of technology of integrative art projects allows highlighting various aspects of the creative personality of Vladyslav Zaremba as a Ukrainian composer, music teacher, the author of the “Taras Shevchenko's Kobzar” collection, as well as samples of chamber vocal and instrumental music. Scientific novelty. Attention is focused on the role of Ukrainian composers of Polish origin, associated with Volyn and Podillia, in the development of professional Ukrainian music in the mid-nineteenth – early twentieth century. Among them: Joseph Dominik Vytvytsky (1813–1866), Michael (Michael) Zavadsky (1828–1887) and Vladyslav Zaremba (1833–1902). Different facets of Vladyslav Zaremba's creative personality have been traced, which are presented by separate scopes of student search and executive activities in the preparation and presentation of integrative art projects. In particular, the following areas have been presented: artistic Ukrainian–Polish relations in the context of the contribution of Ukrainian composers of Polish origin to the composers of the Dolysenko period; presentation of V. Zaremba's creative career; vocal and choral work of the composer; Shevchenko in the works of V. Zaremba (“Taras Shevchenko’s Kobzar” collection, Kyiv, 1889), the program book of the event dedicated to the 185th anniversary of V. Zaremba (vocal class of associate professor N. Ovod), the “Let’s Sing Together” project realised in collaboration with the Youth Choir (artistic director H. Misko) and Polish students. The composer's piano works have also been singled out, which include a piano cycle for children “Mały Paderewsky” (“Little Paderewsky”), translations of Ukrainian folk songs, plays “Farewell to Ukraine”, “Thought-Shumka”, “The Dnipro Roars and Moans”, “At the end of the dam willows rustle”, “All the burlaks gathered”, and a number of piano miniatures. A brief performing and pedagogical analysis of V. Zaremba's work “Oh, the moon, the moon” has been performed. Conclusions. The authors have generalised the role of the technological process of integrative art projects for intensification of searching and performing activities of music students, their analysis of certain aspects of Ukrainian-Polish cultural relations, the role of individuals in the development of musical culture of Ukraine.
 Key words: musical art of Ukraine of the XIX century, modern art education, art projects, Vladyslav Zaremba.

Romantic Traditions in the Works of Ivan Sokolov on the Example of Intertextual Poetics of "Gospel Paintings"

The article is devoted to the work of Ivan Glebovich Sokolov (born 1960), which unfolds in many areas of activity, and among them the main one stands out – composer and pianist. Performance directly affects his composer's searches. Realizing the special impact of the music of romantic composers on listeners, I. G. Sokolov changes the focus of his work from a «conceptual» vector to a traditional style of writing. He creates a number of works directly related to the romantic tradition, among them the piano cycle “Gospel Pictures» (2012) stands out, in which the high role of associative links with the heritage of romantic composers (J. Brahms, F. Liszt, S. V. Rachmaninov, A. N. Scriabin, P. I. Tchaikovsky, F. Chopin, R. Schumann). The focus of the article is the intertextual layer in the «Gospel Pictures», which is realized at two levels: compositional and intonational-thematic (quotes, quasi-quotes, allusions), the latter is given special attention in the article. As a result of the analysis, the author comes to the conclusion that the noted material, which is directly related to the musical culture of romanticism, merges into a single whole with the style of the musical language of the piano cycle, forming a «mono-stylistic» (G. V. Grigorieva) musical fabric, which emphasizes the relevance the concept of extending romantic traditions in modern domestic musical culture. At the same time, this perspective of the study confirms the concept of A. V. Mikhailov about the «phenomenon of the omnipresence of romantic music», as well as its «indestructibility» and «immortality» in the process of evolution of musical culture.

«Urban music» in intermedial and artistic studies of Ukrainian culture of the 1920’s

The purpose of the article is to reveal the “consonance” of urban-artistic reflections of musical and literary works in intermedial-eminent context. The research methodology are based on the complementary principle. The intermedial approach to the study of various artistic codes in one work was applied, as well as to the search of the consonant symbols and signs of a city in different types of synchronic and artistic practice. System-analytical, typological and comparative methods have been used in drawing the parallels and finding the coincidences and differences of realization of the “urban music” in the piano cycle “A Notebook of Miniatures” by the composer Mykola Zaderatskyi and a in the novel “City” written by V. Pidmohylnyi. A receptive methodology, as well as the empirical methods of description, observation and reflection, has been applied. Scientific novelty lies in an attempt of an intermedial comparison of the images of urban sounding in modernistic works of different arts by means of semantic-semiotic interferences. A concept of eminence has been used for the first time for a comparative characteristic of the urban music in the artifacts of the Ukrainian culture of the Industrialization era. Conclusions. Various scenes, pictures, emotional reactions, “technocratic” symbols became common audial-semiotic images of the city in the program-cyclic and novelistic discourses. The contrasts of sounding of the natural beauty of the clouds and artificial aesthetics of the machines, the silence as a contemporary island of self-concentration and “muscular strength” of the crowd (according to V. Zaderatskyi, Jr.), song folklore and a jazz band, a flashy poster and a spinning carousel in a symbolic and intermedial way reflect the interaction of sociological and psychological aspects of urbanism, i.e. personal and collective (private and public), contemplative and effective, emotional and rational, spiritual and material. “Notebook of Miniatures” and “musical-audial” fragments of “City” – are “eminent texts” (H. G. Gadamer) which interpret the encoded in them additional foreign medial contents (verbal – in a musical piece, and musical – in a literary work).
 Key words: urbanism, urban music, composer, writer, novel, piano cycle, intermediality, eminent text.