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The paper analyzes the stages of formation of the department of bowed string instruments of the Ukrainian National Tchaikovsky Academy of Music. The importance of the continuity of generations, of artistic and educational achievements is emphasised. The main milestones in the evolution of different schools of play on bowed string instruments, which during the 20th century were formed at the department, are given. Particular attention is paid to the work of prominent Ukrainian bowed string performers, the evolution of their art and scientific and methodological concepts. Today, the department actively works on the development of scientific and methodological manuals, educational, as well as professional, which deal with the performance on bowed string instruments in the context of higher professional education. At the same time, the systematic concert and performance activities of students and professors of the department gain wide popularity.

The rapid evolution of double bass solo and chamber performance during the twentieth century is explored on the examples of chamber instrumental works written specifically for double bass or with its participation. Analysis of these works allows to form an idea of broadening the expressive range of double bass due to emergence of new performing techniques and improving the traditional ones. The diverse spectrum of musical expression of these works allows evaluating authors’ philosophical and imagery concepts that are realized in modern double bass as a rightful participant of ensemble and solo music. The main provisions of double bass functioning in the chamber ensemble are outlined. Artistic and stylistic specifics of modern double bass performance are based on the acknowledgment that technical and thinking-based motivated actions that allow achieving the highest creative result in interpreting chamber instrumental music, are inseparable

The article analyzes the features of organizing and holding art festivals under the restrictions associated with the COVID-19 pandemic that are relevant to the present. The significant role of digitalization and virtualization of works of art in the above processes is revealed. External challenges stimulated the search for new forms of organizing artistic events, as happened, for example, with The Virtual Collaborative Series, which became a temporary adapted version of the named annual event. We believe that a significant role in the process of searching for new communication strategies was played by technologies that make it possible to overcome spatial restrictions in the context of communication during a pandemic, in particular, we are talking about platforms for direct communication in the presence mode, etc.