Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo最新文献

{"title":"Traditions and Innovations in the Creative and Performing Activities of the Precarpathian Bandura Quartet Gerdan","authors":"Oksana Bobechko","doi":"10.31866/2616-7581.5.1.2022.258137","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258137","url":null,"abstract":"The purpose of the research is to highlight the formation of the Precarpathian bandura quartet Gerdan and its creative and performing activities. It emphasizes the phenomenon of the female ensemble bandura playing as well as determines the contribution of the quartet to the development and popularization of modern bandura playing. The research methodology comprises the use of general scientific methods of cognition, namely, the chronological, analytical, as well as methods of generalisation and systematisation that gave the opportunity to study the formation and creative-performing activities of the Precarpathian bandura quartet Gerdan in dynamics and time. The scientific novelty of the study is that for the first time the stages of formation and creative performing activity of the Carpathian bandura quartet Gerdan in the context of the modern ensemble bandura playing development were studied in detail. Conclusions. The article underlines the dominance of female chamber ensembles, especially bandura quartets, in the development of modern ensemble bandura playing. The Precarpathian bandura quartet Gerdan is noted to be one of the prominent modern bandura quartets, which creative and performing activities brightly popularize the bandura art, both in Ukraine and abroad. Presenting the innovative approach and creativity to its own artistic activities, the quartet has become original and unique in the formation of its repertoire. The ensemble impresses with the wide range of performance opportunities in vocal and instrumental aspects. Its highly professional performing art skillfully combines the emotional sphere and the analytical approaches that focused great attention on the characteristics of creative and performing activities of the ensemble in the context of the development of modern music culture, which is characterized by national traditions as well as correspondence to European and world cultural and art standards.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48615203","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Original and Editions of the Opera “Taras Bulba” by M. Lysenko","authors":"Yana Ivanytska","doi":"10.31866/2616-7581.5.1.2022.258149","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258149","url":null,"abstract":"The purpose of the research is to establish the reasons for the editions’ creation of the opera “Taras Bulba” by M. Lysenko; analyze the differences between the author’s version and the options proposed by Revutskyi - Liatoshynskyi. After all, on the stage, the opera is performed being edited, in musicological literature (especially in recent years) the work is analyzed by the author’s piano (Z. Yuferova, L. Korniy), and scientific monographs of the Soviet-era provide either incorrect or semi-hidden information. The research methodology consists in a comparative textual analysis of the original score and editions of the work. The scientific novelty of the research lies in the comparative characteristics of the author's version of M. Lysenko's opera \"Taras Bulba\" and several versions created by L. Revutskyi, B. Liatoshynskyi and M. Rylskyi. Conclusions. As a result of the research, the author concludes that the original of Lysenko’s opera differs in genre from the work’s editions, because the author has a certain synthesis of lyrical and psychological opera with features of comedic and heroic-patriotic folk drama. Revutskyi - Liatoshynskyi has a historical and patriotic opera. So, today it would be necessary to make another version of “Taras Bulba”, closer to the author’s one. Of course, this is not an easy task. The new editor will have to compare not only Lysenko’s manuscripts, but also different versions of Revutskyi - Liatoshynskyi. However, there must come a time when the genre of the first Ukrainian opera will not be defined by the derogatory word “posterity”. Especially since it contradicts the truth.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43545029","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sacred Foundations of Folk Song Art","authors":"A. Ivanytskyi","doi":"10.31866/2616-7581.5.1.2022.258134","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258134","url":null,"abstract":"The purpose of the research is to determine the influence on the spontaneous and creative formation of song symbolism (in particular, musical-typological), which took place through instincts. The research methodology uses scientific methods to emphasise that folklore is an extremely complex and much more difficult system to be systematized than literature and music. Therefore, the criteria of genre classification of written works to folklore can be used in part, aware of their conditionality. In folklore, which is the bearer of the pre-written experience of mankind, in addition to mental formative and aesthetic achievements, biological instincts are also reflected. Instincts influenced the intuitive and creative formation of song symbolism (in particular, musical and typological). The scientific novelty of the research is that it emphasizes the folklore to be a legacy of the Neolithic worldview (phenomena: magical, religious, organizational and social, legal – like a wedding). For several thousand years under the influence of historical circumstances, and then Christianity in the Neolithic and folklore heritage has undergone significant distortions. The most significant changes have affected the vocabulary of lyrics and melodies of songs: they are the least stable components of the song in the race of time. Much less time affected the rites, beliefs and especially musical forms of songs. The rhythmic structure of musical forms has been preserved the most, as well as the compositional structure of song texts, which is always organically combined with musical rhythmics. Conclusions. The stability of ritual actions over the millennia, which is inherent in all religions (and paganism as well), is due primarily to the influence of sacredness. But sacredness does not affect the mind, but the senses. In order to assert it, the magic of the cycle of the agricultural year and the linear movement of human life (from the cradle to the grave) was worked out. To consolidate in the minds of the genus (tribe) through magic the laws of the annual agrarian cycle, the Magi-priests intuitively developed a perfect musical system of cognitive signs: winter, spring, and summer. The same applies to family rites. In fact, ritual melodies have clearly defined rhythmic structures that are associated with a certain time of year, with family events.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"69792130","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Bandura Technique in the System of Art Process","authors":"N. Broiako, V. Dorofieieva","doi":"10.31866/2616-7581.5.1.2022.258146","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258146","url":null,"abstract":"Bandura’s performance, аs an important component in modern art space, is at the stage of theoretical understanding and search for mechanisms for practical implementation of technical, motor and performance tools to achieve artistic perfection in a wide range of multi-genre and diverse repertoire. The purpose of the research is to theoretically analyze the problems of bandura technique formation in the practical aspect of mastering and applying various performing techniques in artistic interpretation. The research methodology lies in a systematic approach. It is substantiated that the performance movements of a bandura player function in the system of the artistic process. The application of the comparative-analytical approach. The scientific novelty of the research is in the fact that mastering the modern bandura is so difficult that the specifics of this instrument require: a very fine, filigree differentiation in the functioning of the muscles; a special approach to sound production in achieving the ideal bandura sound; extensive use of an arsenal of modern sonorous and colouristic means, the latest techniques of performance, etc. The mechanisms of interaction of musical thinking, imagination, auditory control, the establishment of auditory-motor connections, and contact with the string for the realization of a sound ideal of a work context are considered. The main approaches in the formation of the basic elements of virtuosity – “small” technology and “large” technology are analyzed. The focus is on research on the analysis of the psychology of musical thinking, physiology of performance movement, applicative principles and the development of special exercises that meet the characteristics of sound production in the interpretation of modern bandura repertoire. Conclusions. It has been found that the contact with the bandura string varies depending on the nature of the music, tempo, dynamics and texture. The specifics of the interdependence of the choice expediency of the performance technique and the quality of the sound result are revealed. It is determined that the performance movement, due to the objective features of the bandura, is a process aimed at achieving the sound goal. It has been found that in the performance process, the artistic component and artistic and motor realization occur simultaneously, mutually conditioning and reinforcing each other, resulting in a holistic artistic phenomenon.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43689512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"On the Music-Synergetic Processes of Epic Art","authors":"Kamila Dadash-zade","doi":"10.31866/2616-7581.5.1.2022.258130","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258130","url":null,"abstract":"The purpose of the research is to reveal in the diachronic aspect some principles of the musical self-organization of the Azerbaijani heroic epic. The research aims also to study some features of the self-organization in the opera “Koroglu” by Uzeyir Hajibeyli. The research methodology is aimed at using methods of synergetic paradigm. The notion of non-linearity is a fundamental principle of asynergy. As well as synergetics, the application of certain methodological principles of a cognitive paradigm in the study of the musical language of the heroic epic would also be effective. The scientific novelty of the research. The article offered to the attention of readers one of the first experiments on the application of the principles of the synergetic paradigm in the field of ethnomusicology. Conclusions. One of the most formidable examples of the Turkish heroic epic, the “Book of Dede Qorqud” was a complex system developed on the principle of self-organization. The synergetic aspects of the study of the period of the early heroic epic allow an initial description of epic performance as a manifestation of cognitive processes. According to the author, the synergetic approach allows us to take a fresh look at the problem of “composer and traditional musical art”. In the most generalised form, it can be argued that due to the artist’s intertextual dialogue with the epic tradition, centuries-old concepts acquire new semantic shades in the modern historical and cultural context. The Opera “Koroglu” by the founder of the Azerbaijan compositional school Uzeir Hajibeyli is vivid evidence of this.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47225813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Strategic Planning Peculiarities of an Art Project on the Example of Ukrainian “Jazz Kolo” by I. Zakus: Educational and Social Context","authors":"T. Pistunova","doi":"10.31866/2616-7581.5.1.2022.258153","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258153","url":null,"abstract":"The purpose of the research is to analyze the practical experience of musicians, performers, and participants of an art project, to study the issues of strategic planning of artistic activity and its further interactive realization in the Ukrainian music space on the example of “Jazz Kolo” creative project. The article considers the peculiarities of strategy formation in the organization of an art project, the interaction and relationship of the existence’s parameters and the development of the structure using democratic approaches to dialogue between members of the art team. Possibilities of using research results in the non-formal education of musicians are revealed. The research methodology consists in general scientific methods and approaches in particular: system approach – for structuring and generalization of the organization strategy of a creative project; analytical – to study the scientific and practical experience of this problem; axiological – to identify the importance of the synthesis of artistic, cultural and special professional issues The scientific novelty of the research is the study of the art project in the Ukrainian music space as a complex phenomenon; the components of strategic project planning (artistic performance experiments, educational and social functions, international adaptation and communication, and related activities to create a financial basis, mobility and efficiency of existence, creating content in the market of cultural and artistic services) are substantiated. Conclusions. With a comprehensive approach to creating a model of the organization of an art project, a system of interaction of different cultural environments, active exchange of musical information between countries, project participants enriched the team “Jazz Kolo” and proved that in the formation of a strategic plan of any art business project it is possible to succeed in its implementation, using a decentralized model of group communication, subordinate to the idea and the appropriate team structure.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48939150","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"German Fach System as an Example of Professional Classification of Voices in Modern Vocal and Opera Art","authors":"N. Krechko, Oleksii Riazhko","doi":"10.31866/2616-7581.5.1.2022.258147","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258147","url":null,"abstract":"The purpose of the research is to analyze the principles of voices classification according to the German Fach system through the prism of the integration of Ukrainian singers into world music culture. The research methodology is based on the application of the method of analysis of voices classification, which makes it possible to explore the principles of detailed differentiation of professional voices of opera singers. Source studies and music-theoretical methods were used during the search and analysis of the relevant literature. To substantiate the conclusions on the principles of voice classification, the method of terminology systematization and axiological method were used (to identify the most valuable professional qualities of the vocalist in each classified group). The scientific novelty of the research is that the principles of voice classification in the context of their appropriate professional specialization are analyzed and the principles of the Fach system to certain methods of modern educational vocal practice are extrapolated. Conclusions. In the process of researching the principles of singing voices classification, Fach found that it is based on a detailed analysis of the physical, psychological, emotional and vocal-technical capabilities of the singer in the context of requests for his professional realization in opera. A competitive artistic environment, which is actively expanding through integration processes, necessitates a clear understanding of the value of relevant professional opportunities and proper positioning in the professional sphere. The presence of these objective requests encourages them to be taken into account in the process of vocal formation of the singer, which should be reflected in the choice of certain elements of the methodology of vocal development, and the selection of repertoire and development of artistic thinking.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42121048","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Paradoxes of Modern Culture (Interaction Dynamics of Collective-Individual and Individual-Collective One)","authors":"Sofiia Hrytsa","doi":"10.31866/2616-7581.5.1.2022.258151","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258151","url":null,"abstract":"Purpose of the research. The article highlights the relationship between collective-individual creativity, which is a catalyst for long-standing traditions of human memory, and individual-collective, aimed at extensive innovation – the first inversion with a tendency to establish “accentuated” self, to innovation with positive and negative consequences. The research methodology is based on art studies, sociological research of modern scientists and sociological expedition data of the author of the article. The scientific novelty of the research is that was destined to give impetus to passive matter and to influence the fate of the world more and more actively. In search of counteracting the standard of today's urbanization, it is not accidental to actively turn to the folklore of the peoples of the world, to the poetic, musical richness of rites and customs. In the collective-individual creativity there are contradictions from the moment of its involvement in secondary forms of representation. Conclusions. The mechanisms of fixation applied to folk art violate its genetic authenticity. Where spontaneous forms of folklore are completely supplanted by fixed ones, it essentially ceases to exist as authentic with its inherent structural nuances of genetic reproduction, which affect primarily its variable-modal nature. The process of reducing these nuances is accelerated if it is overused in the media system – on radio, television, and at gala concerts. Optimistic “voting” will result in irreparable losses – trampling and destruction of “folklore humus”, mixing local features of the folklore of the peoples of the world, systematically involved in “gala-cheerfulness”, and “doping” of its development, similar to littering the earth with “fertilizers” irreversible loss of the original genetic properties of folklore, all that is the most valuable achievement of national traditions. The situation is reflected in modern reality, environmental problems and cultural paradoxes, the idea of preserving everything achieved over the centuries, reviewing the extreme challenges that must be faced by rational ideas and action against irrational perversions leading to the loss of basic laws of ethics, morality, interfaith and international wars to complete chaos in life and culture.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42916634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Specificity of Creative Universalism of the Ukrainian Diaspora Bandurists","authors":"V. Dutchak","doi":"10.31866/2616-7581.5.1.2022.258148","DOIUrl":"https://doi.org/10.31866/2616-7581.5.1.2022.258148","url":null,"abstract":"The purpose of the research is to determine the vectors of creative universalism in the activities of bandura artists of the Ukrainian diaspora of the 20th – early 21st centuries. The article analyzes the principles and manifestations of creative universalism of the bandura art of the Ukrainian diaspora. The personalities of bandura artists of the diaspora, whose work has become a manifestation of universalism in the context of actualizing the need to generalize and analyze the achievements of bandura art abroad as part of Ukrainian musical culture, are highlighted. The research methodology involves the use of historical, axiological, musicological and cultural approaches and methods. They allowed considering the activities of bandura players in a non-national environment (historical approach), the value of their achievements in various vectors of creativity (axiological approach), and comprehensively present the contribution of bandura players to the world treasury of Ukrainian culture from the standpoint of universalism (musicological and culturological approaches). The scientific novelty of the research lies in the introduction into scientific circulation of the analysis of creative activity and achievements of bandura artists in the Ukrainian diaspora from the standpoint of universalism, priority of the type of activity or their synergy. Conclusions. In the bandura art of the diaspora during the 20th and beginning of the 21st century, the performing direction of activity has been defined as a priority (leading one). It covers different types of performance as a soloist or participant, conductor of a bandura ensemble, recording activities or a combination of some or all of these types. Auxiliary areas are such areas as design (substantiation of types of bandura models and their manufacture); composition (creation of author’s compositions, arrangements, arrangements for personal use and students or followers); pedagogical and methodical (teaching and formation of game methods); research and journalistic (publishing scientific articles, monographs and press publications); administrative and organizational (management of educational institutions, centres, management of teams, publications); managerial and organizational (preparation of concert, recording, publishing, scientific and festival events), etc.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47474213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Oleksii Chumakov’s Creative Activity","authors":"Nataliia Kovmir","doi":"10.31866/2616-7581.4.2.2021.245820","DOIUrl":"https://doi.org/10.31866/2616-7581.4.2.2021.245820","url":null,"abstract":"The article analyzes various aspects of Oleksii Chumakov’s creative activity. Oleksii Chumakov’s activity can be considered as striking in its variety of creative manifestations. His singing career is harmoniously combined with his work as a composer and arranger. The purpose of the article is to identify the specifics of stylistic dimensions of O. Chumakov’s work. The article analyzes various aspects of O. Chumakov’s activity, which impresses with the variety of creative manifestations. The artist harmoniously combines the singer’s career with composing and arranging skills. The research methodology consists oftheoretical methods (analysis, synthesis, generalization, biographical method), as well as empirical ones to observe the multifaceted work of O. Chumakov. The scientific novelty of the research is that the main features of O. Chumakov’s work are revealed, it is found out that the artist’s vocal skill is manifested in the use of soul singing. The style of Chumakov's compositions makes it possible to use the traditions of the gospel. The dominant directions in which his songs were written are funk, fusion, pop. Conclusions. It is noted that singers, who combine performance with composing, arranging, working in a recording studio, can rightly be considered professionals in their field. Having practical vocal skills, the composer takes into account the technical capabilities of singers, trying to emphasize their strengths. Oleksii Chumakov is also a presenter, writer and actor. All these qualities testify his versatility and high professionalism. In the concert performances of the singer, there is no bright effect or extraordinary scenography, because the performer prefers the ‘classical’ type of stage behaviour when the main emphasis is on the musical side of the compositions. Vocal skill, which manifests itself in the use of various vocal manners, intonation accuracy and stylistic sophistication, are the dominant elements of O. Chumakov’s performances.","PeriodicalId":33441,"journal":{"name":"Visnik Kiyivs''kogo natsional''nogo universitetu kul''turi i mistetstv Seriia Muzichne mistetstvo","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48424868","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}