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C O N T E N T
volume 10 year 2017
Chapter 1 Pages
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Kutasevych A. V.
“Variations sérieuses” for Piano by Felix Mendels-sohn as an Example of the Romantic Genre Model (The Performer’s View).
 5-23
Lebedev E. S.
Evolution of the violin concerto in the works by Mendelssohn.
23-35
Kucherenko S. I.
The violin opuses by F. Mendelssohn: the synthesis of tradition and innovation.
35-50
Kharakoz A.
«The choral fugue of F. Mendelssohn “AustieferNothschrei‘ ichzudir” through the prism of Bach traditions».
 51-62
Belichenko N.
The 21-st and 129-th psalms in reading by F. Mendelssohn and A. Schönberg: the artistic and compositional parallels.
 63-78
Kuzmina O. A.
The romantic tradition of Hausmusikand its effect on children’s opera genesis.
78-93
Kuchma N. A.
“The sound image” of F. Mendelssohn piano (based on Etudes Op. 104 b).
 93-105
Sediuk I.
Concerto principles in the piano duos by F. Mendelssohn.
 106-121
Zuev S.
Felix Mendelssohn in ... Hollywood (composer’s music in the film adaptation of “Midsummer Night’s Dream” by M. Reinhardt).
 121-134
Ilyashenko Tetiana
Traditions of F. Mendelssohn in the development of the miniatures genre in contemporary Ukrainian music.
135-150
Chapter 2
Stetsiuk Â.
The phenomenon of improvisation in the context of music as a “game”: Classical Antiquity, Baroque, Modern Era.
151-169
Sukhlenko I.
Musical work of a composer in performing practice: sameness/identity – openness -integrity.
 169-180
Nikolaievska Yu.
The auhtentic performing strategy and its modern transformations.
 180-198
Pastukhov A. V.
Bassoon in the Baroque era: organological and performance aspects.
 198-209
Bernat F.
Performance specificity of J. Etvosh guitar transcription of «Goldberg Variations» by J. S. Bach.
210-224
Podporinova E. V.
Concertos for two keyboards by A. Soler in the aspect of performing interpretation.
 224-239
Kovtoniuk V.
Transcriptions of L. Stokovsky and M. Pletnev Toccatives and Fugues in D minor BWV565 I. S. Bach as a reflection of the dynamics of the development of the romantic tendencies of performing art of the XX–XXI centuries.
 240-252
Govorukhina N.
The art of countertånors in a contemporary cultural space.
 252-265
Kasianenko M. A.
Baroque vocal stylistics as a performing problem (strategies of Evgenia Miroshnichenko`s class).
266-285
Bondarchuk V. O.
The opera studio of NMAU as a plane for the implementation of the directorial method by D. Gnatyuk on the example of the production of the opera «Faust» by Charles Gounod.
 285-296
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