Subject Material Research Articles

Joseph Joachim's Cadenzas as a Site of Performative and Compositional Virtuosity

A recurrent trope in the reception of Joseph Joachim's performances is the notion that that he magically transformed himself into the composer of the work. In particular, his performances of violin concertos frequently evoked this perception, as documented by Andreas Moser, Otto Gumbrecht, Hans von Bülow, and Johannes Brahms. Building on work by Katharina Uhde and Karen Leistra-Jones, this article will propose that Joachim's cadenzas played a central role in fostering the perceived slippage between the composer and performer. Joachim composed – and performed – cadenzas for many of the concertos in his core repertoire, including works by Giuseppe Tartini, W. A. Mozart, Giovanni Battista Viotti, Ludwig van Beethoven, and Brahms. I will argue that Joachim's cadenzas enact a compositional approach to the thematic material. The depth of this engagement is profound, encompassing not only the soloistic passages but also the ritornello sections as material for developmental reworking and modulatory processes. In fact, he often explores harmonic avenues that are only hinted at in the ‘parent’ concerto, highlighting and fulfilling moments of unrealized potential. Joachim's cadenzas thus create the impression that the composer of the concerto is revising and expanding his own work. I propose that he inhabits the genre of the cadenza as a site of compositional and performative virtuosity, fusing the two personas at a time when they were becoming increasingly polarized in European musical culture.

Development of Digital Health Gender and Sexual Health Literacy scale

Abstract Introduction Health literacy, as the ability to obtain, process and understand health information, including gender and sexuality awareness, appears to be underdeveloped in terms of measurement tools and thematic materials. The literature indicates the existence of serious deficits in gender and sexual health literacy at all levels, with implications for relationships with citizens and patients. Methods Delphi study agreement was conducted and a pool of potential scale items was generated, reflecting a range of skills and abilities within each domain. Items were carefully worded to ensure clarity, cultural sensitivity and relevance to different gender identities and sexual orientations. Expert review and cognitive pre-testing were employed to refine item wording, assess content validity, and ensure that the 10-item scale was comprehensible and relevant to the target population. Results The theoretical development of the 10-item Digital Health Gender and Sexual Health Literacy Scale was successfully completed. The scale items were designed to provide a comprehensive measure of an individual’s ability to navigate the digital landscape for gender and sexual health information. Conclusions The theoretical validation of the Digital Health Gender and Sexual Health Literacy Scale (DiGeSHeL) provides the community with a promising tool to assess individuals’ confidence and ability to use digital technologies for sexual health information and resources. However, further research is needed to validate the scale and test its reliability with a diverse group of participants. Once validated, this scale could be a valuable tool for sexual health promotion programmes to identify gaps and evaluate the impact of digital literacy interventions. Key messages • Gender and sexual literacy are crucial for health. • Health literacy as six vital sign.

Song Heritage of “The Beatles” in Academic Musical Interpretations

The purpose of the research. The paper reveals the features of the approaches of academic musicians to the creativity of “The Beatles” and characterises the musical projects created on the basis of the song heritage of the legendary British group. The research methodology consists in the application of historical cultural, comparative and musical analytical methods, which allowed to reveal the academic potential of “The Beatles” music and outline the ways and directions of academisation of their song creativity. The scientific novelty consists in the fact that for the first time academic interpretations of the songs of “The Beatles” group, carried out by L. Berio, J. Bayless and P. Breiner, were characterised, and two approaches to musical transcriptions of the song heritage of the group were outlined – academic and academicized, the type corresponds to all the parameters of academic music, the second gravitates towards classical crossover as a direction of pop music. Conclusions. Among the numerous cover versions, transcriptions and paraphrases of “The Beatles” music, a number of original musical interpretations are attractive, the authors of which turn to the Baroque style. The vocal cycle “Beatles Songs” by L. Berio (1967), the instrumental albums “Bach Meets the Beatles” (1984), “Bach Meets the Beatles. Revisited” (2004) by J. Bayless and “Beatles Go Baroque” (1993) by P. Breiner have already acquired the status of iconic. Their authors, who received a classical musical education, give priority to academic interpretive versions, where the songs of “The Beatles” group are considered as thematic material, which becomes the basis for academic type compositions with classical musical dramaturgy formed in the instrumental music of the Modern period. A number of compositions, in which the basic features of a song are preserved, gravitate towards academicized type interpretations, approaching a classical crossover, and can represent both academic and pop musical creativity.

THE MUSICAL DRAMATURGY AND COMPOSITION STRUCTURES IN THE SYMPHONIES BY JEAN SIBELIUS

The article is dedicated to the peculiarities of conceptional and compositional solutions in the symphonies by Jean Sibelius. The author of the article proposes a new periodisation of the creative life of Sibelius as a great representative of the symphony genre, consisting of two triads of symphonies, surrounding the fourth one. The resources of renovation of the Viennese classical tradition by Sibelius are considered based on the rst triad (Nos. 1, 2 and 3) and the programmatic symphony “Kullervo”. Among the diverse historical connections of Sibelius’ symphonic searches, the author of the article highlights the receptions of the traditions of A. Bruckner and P. I. Tchaikovsky and the historical parallels of the symphonism of Sibelius, G. Mahler and P. Hindemith. The dialectic of contrasting-composite forms and metamorphoses of thematic material is de ned as the main integrating factor in the symphonies of Jean Sibelius.

Compositional and dramaturgical analysis of Mykola Lysenko’s Concert polonaises Op. 5 and Op. 7 and specificity of their performing interpretation

The relevance of the article. Mykola Lysenko’s creativity attracts the attention of the world music community. This is confirmed by the availability of CD albums with the composer’s music created by Ukrainian and foreign musicians. The composer’s piano opuses are of considerable interest, but among them there are pieces that, despite their artistic value, are performed relatively infrequent. The purpose of the article is to identify the compositional and dramaturgical features of two Concert polonaises Op. 5 and Op. 7 by M. Lysenko and analyze their performance versions. Taken in combination, this will allow us to better understand the specifics of the composer’s interpretation of the polonaise genre and identify approaches to the interpretation of these works that are common in contemporary piano performance practice. The methodology is based on an integrative approach, and involves the use of systematic, analytical, structural-functional, inductive and comparative methods. The results. In his two Concert polonaises, M. Lysenko presents different approaches to the understanding of the genre, which is manifested at the level of their composition, musical dramaturgy, and the embodiment of the virtuoso-concert principle. In addition, the study examines the performing versions of polonaises created by contemporary Ukrainian pianists, which helped to identify trends in their performing interpretation. Conclusions. The compositional structure of the first Concert polonaise is proportional, while in the second Concert polonaise the composer does not keep the symmetry of the form of the sections, expanding the middle section and shortening the reprise. The musical dramaturgy of the first Concert polonaise is marked by the contrast of musical images, while the second Concert polonaise is dominated by lyrical imagery. These pieces embody opposite aspects of virtuosity, which is manifested at the level of texture and dynamic palette. Interpreting these Concert polonaises by M. Lysenko, the pianists reveal different aspects of their musical and figurative sphere: lyricism or poetry, bright dancing or heroics. An interesting trend in the performing interpretation of the works is the reduction of the middle section (episode), which is possible due to the repetition of the thematic material. The practical significance. The material of the article can be used in the further study of the specifics of the performance interpretation of M. Lysenko’s music, as well as in the study of the artist’s work in a special piano class, courses “The analysis of musical forms”, “The history of music”.

Exploring the Musical Styles of Beethoven’s Middle Period through the Piano Sonata Op. 90

Beethoven’s Piano Sonata Op. 90 represents the pinnacle of his compositional achievements during his middle period, showcasing significant transformations and advancements in his musical style. This paper analyses the structure and technical features of Piano Sonata Op. 90, including its two-movement sonata, the treatment of thematic material, and the application of polyphonic techniques. These elements illustrate the stylistic evolution from Beethoven's middle to his late periods. A detailed musical analysis of Piano Sonata Op. 90 reveals how Beethoven integrated classical and Romantic elements within this work, thereby foreshadowing the technical and spiritual developments of his late period compositions. Furthermore, the paper discusses specific performance techniques essential for interpreting Piano Sonata Op. 90, providing practical guidance to enhance understanding and execution of this masterpiece.

Органическая философия в критике А.А. Григорьева, философии Н.Н. Страхова и романах Ф.М. Достоевского

The article proposes a hypothesis that the “age-old question” about the meaning and purpose of human life, posed by F.M. Dostoevsky in his youth in a letter to his brother Mikhail, as a program for his entire future life, was solved in the form of a “soil-based” concept, the basis of which was the “organic criti­cism” of A.A. Grigoriev and “organic philosophy” of N.N. Strakhov. This ideological complex was formed under the influence of a number of European philosophers, of which the most important were the works of T. Carlyle, as well as the “senior Slavophiles” A.S. Khomyakov and I.V. Kireyevsky. The literary and aesthetic aspect of the concept was realized in A.A. Grigoriev’s “organic criticism”, the socio-cultural aspect became the basis of the ideological platform of the magazines “Time” and “Epoch” (1861–1865), its formal logical justifica­tion was carried out in the works of N.N. Strakhov. Through the efforts of a cir­cle of thinkers grouped around the editorial offices of the magazines “Time” and “Epoch”, long before N.O. Lossky and A. Bergson, the basic points of philo­sophical intuitionism were developed and analyzed on a variety of thematic material. The article puts forward a version that the ideological basis of the “big” novels by F.M. Dostoevsky (1866–1880) – “Crime and Punishment” (1866), “Idiot” (1868), “Demons” (1872), “Teenager” (1875) and “Brothers Karamazov” (1880) is “organic philosophy”, the main elements of which are reflected at all levels of the artistic structure of the writer’s work

Time-varying similarity of neural responses to musical tension is shaped by physical features and musical themes

The similarity of understanding is important for music experience and communication, but little is understood about the sources of this common knowledge. Although neural responses to the same piece of music are known to be similar across listeners, it remains unclear whether this neural response similarity is linked to musical understanding and the role of dynamic musical attributes in shaping it. Our study addresses this gap by investigating the relationship between neural response similarity, musical tension, and dynamic musical attributes. Using electroencephalography-based inter-subject correlation (EEG-ISC), we examined how the neural response similarity among listeners varies throughout the evaluation of musical tension in the first movement of Beethoven's Piano Sonata No. 8. Participants continuously rated the degree of alignment between musical events and their expectations, while neural activity was recorded using electroencephalography (EEG). The results showed that neural response similarity fluctuated in tandem with musical tension, with increased similarity observed during moments of heightened tension. This time-varying neural response similarity was influenced by two dynamic attributes contributing to musical tension: physical features and musical themes. Specifically, its fluctuation was driven by physical features, and the patterns of its variation were modulated by musical themes, with similar time-varying patterns observed across similar thematic materials. These findings offer valuable insight into the role of dynamic musical attributes in shaping neural response similarity, and reveal an important source and mechanism of shared musical understandings.

Implementasi Pembelajaran Tematik Melalui Media Pembuatan Teh Bunga Rosela (Teburos) untuk Meningkatkan Keterampilan Wirausaha Siswa

This research aims to implement thematic learning through the medium of making roselle flower tea (teburos) to improve the entrepreneurial skills of class VI students at SD Negeri Rojopolo 06. The research method used was classroom action research involving 20 students as research subjects. The research steps involve planning, pre-test, implementation, observation, post-test and reflection. The implementation of this learning is a pre-test, providing thematic material, planting roselle plants, active involvement of students in making and packaging Teburos products, developing students' analytical skills in marketing Teburos products, as well as post-tests and reflections. The data collection method used was giving tests to students. From the research results, it is known that the implementation of thematic learning through the teburos media can show improvement. This increase can be seen from the comparison of the average pre-test and post-test scores of students, which experienced a significant increase of 65% from the pre-test score of 55.75, increasing to the post-test of 75.25. The application of thematic learning using Teburos media can improve students' entrepreneurial skills and have a positive impact on students' learning motivation.

Analisis Keterampilan Guru Kelas V Mengadakan Variasi dalam Pembelajaran Tematik di SDN Ngargoloka

Variation skills in teaching are important for teachers. Therefore, the focus of this research is to analyze the skills of teachers to make variations which include variations in teaching styles, media variations, and variations in interaction patterns in class V in thematic learning at SDN Ngargoloka, Gladagsari District, Boyolali Regency. The type of research used is qualitative and the research data is analyzed descriptively. From the data analysis, it was found that the fifth grade teacher already had the skills to make variations in learning. The variety of teaching styles of fifth grade teachers is said to be good and varied, because almost all indicators of teaching style variations have been implemented. The teacher's skills in making variations that have been owned such as voice variations, silence, gestures, concentration of attention, eye contact, and the help of learning media tools used such as maps, globes, source books, LCD, and HandPhone and interaction patterns. The obstacles experienced by teachers in applying the skills of making variations are that teachers experience confusion in explaining thematic material that combines several materials at one time, besides that the character of different students, such as when the teacher gives time for discussion, only a few students do it and the others are busy themselves. this happens because schools have limited facilities and infrastructure such as teaching aids and learning media, so this limitation makes teachers when explaining thematic material without the help of media become abstract for students and it is easier to understand the material presented by the teacher if the teacher explains the material using tools. This will certainly hinder learning.Keywords: analysis, teacher skills, teacher variation, thematic learning thematic learning

Implementation of Digital-Based Learning Media on Thematic Material on Students’ Scientific Abilities

Learning applied to elementary school-age children is very crucial, because the methods and processes of teaching teachers seem to force students to be able to achieve predetermined competencies. This research uses the (SLR) method. regarding research methods: "Literature" which means it is a critical analysis of the research that is being carried out on a special topic or in the form of a question to a part of science. helps us in compiling a framework that is in accordance with the theory, findings, and results of previous research in solving the problem exposure in the research conducted. The implementation of digital-based learning media on thematic material on scientific abilities can be used optimally, especially for elementary school level students, using digital-based media can certainly stimulate the cognitive, affective and psychomotor abilities of students, especially in accordance with the characteristics of 21st century learning where modern learning utilizes the sophistication of information and communication technology, the role of the teacher as a facilitator is very important in creating interesting and fun learning

The spiritual concept “Hope in God!” in the psalms by F. Mendelssohn-Bartholdy

Statement of the problem. The spiritual music by Felix Mendelssohn-Bartholdi remains insufficiently covered in domestic scientific research. To a greater extent, the interest of musicologists is observed in his secular work – large symphonic or chamber-instrumental compositions (the overture “A Midsummer Night’s Dream”, “Songs Without Words” for piano etc.). However, the musical embodiment of religious texts by F. Mendelssohn testifies to how deeply they were heard by the author. Since the composer was a religious person, spiritual choral music occupies a significant place in his legacy. In addition to psalms, it is represented by oratorios, cantatas, motets, hymns. Nevertheless, compared to oratorios, other genres (psalms, motets, cantatas, hymns) have not been studied enough in scientific works. In fact, spiritual concepts in the sacred music of F. Mendelssohn also remain unexplained. However, it is precisely the considering certain leading ideas that can combine different works that is the key to a deeper understanding of the composer’s spiritual music. Objectives, methods, and novelty of the research. The purpose of this article is to consider the specifics of implementation of the spiritual concept “Have hope in God!” in the psalms by F. Mendelssohn-Bartholdi. The term “concept” is used in a meaning close to its original understanding by the “father of conceptology” P. Abelard – as higher than even the “category” the result of the vivid activity of the exalted spirit. The specificity of the chosen topic required the application of an interdisciplinary approach to the subject of research and methods of spiritual-semantic, comparative, genre-stylistic analysing the musical material. The scientific novelty of the research lies in the fact that for the first time in the musicological thought, the concept of hope in God was revealed in F. Mendelssohn’s psalms and the ways of its embodiment in various examples of this genre in the composer’s work were explored. Research results and conclusion. During his lifetime, the composer wrote nine psalms, which we propose to divide into two groups based on their structure and composition: 1) large-scale psalms for choir, soloists, and orchestra; 2) more chamber ones, for a cappella performance. As a result of the study of these works at different levels (verbal, tonal and harmonic, intonation-thematic, timbre) it was found that the studied spiritual concept is actualized through a verbal text that is identical (“Harre auf Gott!” – “Have hope in God!”) or similar (common ideological content of the text – the hope in God), through musical intonations (use of separate melodic and rhythmic constructions of leit-theme “Harre auf Gott!”), certain common tonal principles (major key), performance staff (choral rendition). Degree of conformity may be varied. The highest degree of similarity is observed between two parts of the psalm № 42. № 4 and № 7 are characterized by equal text, thematic material, key, and scale (F-major). Connection between the psalm № 42 (№ 4 and № 7) and psalm № 43 (Final) is almost the same, but the scales are different (F-major and D-major). There are more distant parallels between the psalm № 42 and psalms №№ 2, 22, 115. The conclusion states that the spiritual concept of hope in God combines not only different numbers within one psalm and psalms within one cycle, but also works that belong to different groups of psalms and periods of the composer’s work.

GEORG FRIEDRICH HAENDEL - SONATA FOR VIOLIN AND FIGURED BASS OP. 1, NO. 13

In the field of chamber music, Haendel is known for his six Sonatas for violin and basso continuo op. 1, creations that have kept a well-deserved place in the violin repertoire, being approached mainly for their melodic cantability, the clarity of the formal structures and the moderate technical difficulty. At G. Fr. Handel's sonata genre is distinguished by the characteristic unity of the thematic material, which bears the perfect mark of mastery. His sonatas are characterized by the breadth of the melodic line, the precise construction of the harmony and the generous sonority.

Вариативност при реализацията на българска интонация

The study presents the intonational phonology of Contemporary Standard Bulgarian (CSB) and the BG_ToBI annotation system. CSB uses the following pitch accents: L*, L*+H, L+H*, H*, H+!H*; phrase accents: L-, H-, and !H-; and boundary tones: %H, L%, H%, !H%. In the realization of the pitch accents, there is often variable alignment between the tonal target and the boundaries of the lexically stressed syllable. This variability is due to both speaker-specific speech strategies and the position of the stressed syllable within the utterance. For example, when the H* pitch accent is near the beginning of the utterance, the high target is usually reached towards the end of the stressed syllable. When it is near the end of the utterance, the high target is reached towards the beginning of the stressed syllable. In rising accents (L*+H and L+H*), the high tone can be delayed up to three syllables after its original target. In signaling the information structure of the utterance, there is no one-to-one correspondence between the type of focus and the choice of pitch accent: the same type of focus can be ex-pressed with different accent types, and the same accent can signal different types of focus. For example, H* can signal broad focus, narrow focus, and contrastive focus; L+H* can signal narrow focus and contrastive focus. Thematic material is not necessarily deaccented. From a pragmatic and functional perspective, four different tunes associated with the various vocative types in Bulgarian are presented: neutral vocative (L+H* L-%), insistent vocative (L+<H* L-% [+long]), challenging chant (L* H-L% [+long]), and vocative chant (L+H* !H-% [+long]). When the final syllable is lengthened, the vowel in it is not fully reduced, which contradicts the phonological pattern of vowel reduction in CSB.

Structural and content features of the informational and methodological bulletin «Rada»

Introduction. Periodicals of Ukraine requires a detailed scientific study, especially local editions of the period of Independence. The informative and methodical newsletter of the Ternopil Regional Council “Rada” is an extraordinary representative of local periodicals. Relevance and purpose. The relevance of the research is determined by the lack of scientific studies of periodicals of the Ternopil region. The purpose of the article is to characterize the structural and content features of the informational and methodical bulletin “Rada” as a representative of the local press. Novelty. The novelty is that the “Rada” bulletin is described according to the typology of periodicals and from the point of view of the structural and content organization of the magazine for the first time. Methodology. Theoretical sources have been studied using methods of analysis and synthesis. Quantitative and qualitative analysis was used to process the issues of the magazine. The classification features of the gazetteer have been outlined on the basis of a sequential sample. Content analysis, methods of classification and theoretical generalization have been used to describe the collected material. Results. It has been found out that according to typological features, the Rada newspaper is a text printed magazine periodical, original and monolingual, of official, socio-political and industrial-practical purpose. In accordance with self-positioning, it contains informational materials on various topics and methodological developments in the field of public administration for 2002–2013. The rubric system is subordinated to the communicative strategy of the publication. The author’s diagram reflects their frequency and ratio for the entire time of publication of the gazette and demonstrates a balanced presentation of various thematic materials. Publications of state-building, social, legal, economic, historical, and cultural topics occupy a significant place in the content structure of the publication. Conclusions. Theoretical sources have been studied using methods of analysis and synthesis. Quantitative and qualitative analysis was used to process the issues of the magazine. The classification features of the gazetteer have been outlined based on a sequential sample. Content analysis, methods of classification and theoretical generalization have been used to describe the collected material.

«Метаморфозы» Р. Штрауса: специфика музыкального нарратива

The article explores the principles of narrative thinking in R. Strauss’s "Meta­morphoses" — a composition for twenty-three string instruments. The main focus is on the examination of the author’s method of working with thematic material, formed by Strauss in previous symphonic compositions, as well as the study of intonation dramaturgy. Intonational connections between Strauss’s musical writing and Beethoven’s compositions, in particular the funeral march from the Third Symphony, are identified. The idea of metamorphoses is traced through the development and transformation of the intonation-harmonic core of the composition. A narrative theory approach allows for the analysis of the sequence of musical events in a composition dedicated to the departure of the late romantic era.

Sources for the Study of Occupation Policy Regarding the Child Population in the Occupied Territories of the RSFSR (1941—1944)

The Great Patriotic War is a broad and multifaceted topic. One of the interesting vectors for studying this period is life in the USSR occupied by Nazi Germany and its allies. Behind the term “civilian population”, even in Soviet historiography, the concept of old people, women and children was formed. However, the issue of children, as the future generation subjected to the occupation of the USSR, is extremely important to consider from a special angle, since it is through the prism of the attitude of the Nazi leadership towards Soviet children, first of all, that Germany’s real intentions can be determined in relation to the future of the peoples of the USSR. This article examines sources stored in archives on the territory of the Russian Federation, collections of documents published in the USSR and the Russian Federation, as well as Internet projects developed in the Russian Federation dedicated to the digitization and placement of thematic materials.

The Secret Portrait of a Romantic? On the Recent Biographies of Karel Jaromír Erben

In 1853, Karel Jaromír Erben published a collection of ballads Kytice, which was immediately seen as a model of national literature. The contact of this model with Romanticism is only selective, because it does not consider all the metaphysical dilemmas resulting from the appreciation of the individualistic attitude to the world. It might seem that Kytice should share the fate of other 19th century texts of culture which are currently attributed the position of a respectable, old fashioned literary monument. Meanwhile, in recent years, two novels have been published directly drawing inspiration and thematic material from the life of the poet, namely: Vřeteno osudu. Tajná zpověď by Karel Jaromír Erben by Otomar Dvořák (2015) and Stará škola by Petr K. Procházka (2022). Both literary biographies expose the close, though hidden, connections between Erben’s poetics and worldview with the Romantic aesthetic and ideological context.

Penerapan Trainer Seri Paralel Bagi Siswa SD Pojok Kota Kediri

Abstract—Paralel series circuit thematic material is one of the materials that is difficult for elementary school (SD) students to understand because it requires direct understanding and application of paralel series material. At SD Negeri Pojok Kota Kediri the paralel series material is taught in class VI, the lack of learning media for this material causes students to have difficulty understanding the material. The aim of this Community Service (PkM) activity is to design and implement a paralel series trainer for elementary school students so that it is hoped that students will find it easy to understand and apply the series. This service activity produced 4 trainers, namely a series circuit trainer, a paralel circuit trainer, a combination switch circuit trainer, and a paralel series resistance interactive trainer. The results of applying the trainer show that 90% of students are able to apply circuits to series and paralel material using the series paralel circuit trainer.

Double concertos for violin and cello with orchestra by Johannes Brahms and Vitalyi Kyreiko: genrе and style dimentions

The relevance of the article. The Concertos for violin and cello with symphony orchestra by J. Brahms (a moll, op. 102) and V. Kyreikо (a moll, op. 65) are considered in terms of embodying the artistic pursuit of composers of different eras and national schools. Genre-stylistic features are outlined, their individual and common features are revealed, which testify to the preservation and development of the tradition of the concert genre, the reinterpretation of the Brahms concert model in a new cultural context. It is emphasized that works belong to the type of symphonized concert, in which the means of symphonic transformation of thematic material, a rich polyphonic texture, complex forms of interaction between soloists and orchestra prevail. It is noted that the methods of symphonizing the musical fabric take place in accordance with the creative attitude of each composer, whose common stylistic space fits into the paradigm of romanticism — neoromanticism. Special attention paid to the V. Kyreiko’s concerto for violine and cello with orchestra, as the first in Ukraine double concert for string instruments, which is considered from point of imitation and development of the genre of instrumental concert. Emphasized the uniqueness of the author’s concept, which is revealed in the combination of deep musical content and clear form, understanding of the expressive possibilities of the violin and cello, and the disclosure of the natural beauty of the sound of the instruments.
 The main objective of the article is to compare the genre-stylistic features of the double concertos for violin and cello with the orchestra by J. Brahms and V. Kyreiko and to reveal the possibilities of their modern performance interpretation.
 The methodology of the research methodology includes the following methods: historical, which made it possible to determine the historical framework and attribute the work of composers to a certain era and style; genre-style analysis, which made it possible to reveal the stylistic features of musical expressiveness in the specified works of the composers; comparative analysis, thanks to which it became possible to compare intonation genre-style complexes in the work of composers; performance analysis, with the help of which the artistic and performance specifics of the double concerto for violin and cello with orchestra are highlighted in the aspect of updating the genre tradition of the 19th - second half of the 20th centuries.
 Results and conclusions. A comparative analysis of two original in design and methods of musical implementation of concertos for violin and cello and symphony orchestra by J. Brahms and V. Kуreiko allowed us to outline the wide genre and style space of existence of these bright artistic phenomena, which extends from the romanticism of the 19th century to the neo-romanticism of the 20th century, demonstrates the durability genre tradition, reveals the common features and individual differences of these works. Despite the different national and cultural context, both works embody the symphonic scale of the development of musical thought, they are marked by the breadth and ambiguity of lyrical and dramatic images. The thematic layer of the concerts is distinguished by its imaginative breadth: an epic story, elegiac romantic-song episodes, a multifaceted lyricaldramatic sphere, genre-dance finales with different emotional moods. The principle of thematic development is built on the basis of complementarity, contrasting juxtapositions of theme-images, avoidance of sharp clashes, associatively reminiscent of romantic poetic dramatic concepts. The double concertos for violin and cello by J. Brahms and V. Kуreiko demonstrate perfect skill in the presentation of each of the soloists, the construction of ensemble dialogues, and the interaction of the soloists with the orchestra. As a general trend, we state that both concerts continue the tradition of symphonizing the genre. Reviews of concerts performed by leading Ukrainian musicians of different generations (O. Horokhov — V. Chervov, B. Pivnenko — K. Polyanska) provide examples of standard performance versions, the performers' deep understanding of the composer's concepts, their inclusion in the general cultural and historical process. Undoubtedly, they are guidelines for further revealing the artistic potential of concerts.