The purpose of the study provides a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko creating process coverage. The methodology. Methodological principles are based on the historicism, genre-stylistic, intonation-dramaturgical and interpretive types of analysis, that are used to create a conductor’s concept of “Two choruses on H. Skovoroda’s poems” by Vitalii Kyreiko. The results. The development of the conductor’s concept is a process that covers worldview, analytical and creative-executive systemic levels. A conductor-choirmaster, first of all, must understand the artistic idea due to which V. Kyreiko combined the national philosopher’s poems into a choral diptych. In the first chorus “Ah, the fields” (“Akh, polia”), the essence of H. Skovoroda’s pantheistic doctrine is revealed, enriched with choral means of expression: sound imagery, antiphons between female and male choirs, nominal “dialogues”, a combination of diatonicism and tart, rich harmonies with a dynamic pastel palette. As a result, it creates an image of the Eden Garden, where the hero finds peace and happiness. The second chorus of the diptych “Seeing this life’s woes” (“Vydia zhytiya seho ya hore”) represents the hero’s difficult path to God and to understanding His mercy. The composer creates an artistic sound image due to monody, ostinato, sound imagery, multi-layer character, symbolism, textural and stroke diversity, contrasting dynamics and pleading intonations, the origins of which are found in a national folklore. Two choruses by V. Kyreiko on the H. Skovoroda’s texts, while revealing the spiritual meaning of the brilliant Ukrainian philosopher’s poems, receive features of the neo-baroque style due to the introduction into the XX century’s sound-space of the XVIII century’s poetic heritage, and rhetorical figures (symbols of the Baroque era) introduction into the musical canvas of the choral works. The chorus “Seeing this life’s woes” contains a Renaissance opposition: despair — hope, and chorus “Ah, the fields” represents the beauty cult, which gives the choral diptych Neo-Renaissance features. Despite the genre and figurative contrasts of these compositions (choral miniature-scenery and dramatic monologue), let’s emphasize the common features between the choral work by V. Kyreiko and the poetic primary source, which directs the development of choral dramaturgy. The use of couplets as a song carrier, which follows the structure of H. Skovoroda’s poems-songs, appears developed and enriched. The movement acceleration is facilitated by the comparison of sections in chorus “Seeing this life’s woes”, which are built according to the contrast principle, and concert baroque style in chorus “Ah, the fields”. In the choral compositions’ finales, the rhythmic and harmonic unity of the choral array reaches the highest culmination and provides “Two choruses on H. Skovoroda’s poems” with a logical completion in the disclosure of the artistic content. A conductor’s concept of Skovoroda’s diptych by V. Kyreiko represents two Worlds: Eearthly and Heavenly, where the renewal of the hero’s soul, the search for a path to happiness in harmony with nature and hope for God’s mercy and salvation in the highest world take place. This concept must be realized in the choir performance interpretation under the choirmaster’s direction. The scientific novelty. The scientific novelty lies in the conductor’s concept of “Two choruses on H. Skovoroda’s poems” by V. Kyreiko development, which will contribute to its realization in choral reproduction. The practical significance. The obtained results’ practical significance is determined by the need to find a conductor’s concept for an adequate composer’s intention interpretation.

"The problem of traditions and innovations in vocal and choral performance is a large-scale, many-sided integral system. This phenomenon of musical culture combines the classical direction and modernization of interpretation processes, which determines the topicality of the research. The aim of the article was to reveal the phenomenon of traditions and innovations in vocal and choral art as a complex multi-vector phenomenon that includes components of different scales, content, and functions that they perform. Methods. The research involved theoretical and practical methods. Problem: theoretical methods are represented by the analysis and arrangement of materials; identification of the main elements of the problem; generalization of the data obtained during the research. The practical methods are based on the search for and collection of scientific concepts and empirical data from the fields of performance, history, pedagogy, philosophy, aesthetics, medicine; on the monitoring of educational, as well as concert and performing activities; creative collaboration with soloists and the choral group. Results. The problem of traditions and innovations in vocal and choral performance is based on the following blocks: preservation of classical principles of academic vocal performance; their synthesis with discoveries and achievements of other spheres; modernization promoted by the expansion and updating of the genre framework, as well as modern engineering equipment. Conclusions. The fact of significance of the phenomenon of traditions and innovations in vocal and choral performance for the culture of society was revealed during the research. Its universality as a many-sided, flexible, large-scale integral phenomenon which consists of many different elements that play a leading role in its formation and are closely related was proved. Its interaction with different areas of society is shown. Prospects. The issue of traditions and innovations in vocal and choral performance is constantly enriched with new content, expands the scope of its implementation and interaction with various forms of social consciousness, science, medicine, which necessitates further study of this phenomenon. Keywords: academic vocal performance; performance software support; practice of vocal and choral art; educational and performance activities; breathing exercises; artistic directing; monitoring of educational and concert practice. "

Мета статті – визначити особливості виконавської інтерпретації фантастичних образів опери М. Леонтовича «На русалчин Великдень». На підставі наукових розвідок визначена жанрова природа оперного opus’у національного генія та значення її розуміння для створення адекватного виконавського трактування. Методологія дослідження базується на застосуванні історико-контекстуального, жанрового, інтерпретаційного, інтонаційно-драматургічного, структурно-функціонального та компаративного методів аналізу. Проведений аналіз оперного цілого та його виконавських версій позначив шляхи створення власної інтерпретації фантастичних образів драматично-оперного етюду «На русалчин Великдень», втілених хоровою складовою музично-театрального твору. Наукова новизна полягає в тому, що в даному дослідженні вперше у вітчизняному музикознавстві та хорознавстві виявлені особливості процесу пошуку інтерпретаційної версії драматично-оперного етюду М. Леонтовича, надано визначення авторського жанрового імені та розкрита специфіка композиторської інтерпретації фантастичних істот в оперному жанрі. Висновки. У результаті аналізу «На русалчин Великдень» М. Леонтовича встановлено етапи розгортання музичної драматургії: експозицію, контр-експозицію, зав’язку, кульмінацію та розв’язку; розкрито еволюцію образів русалок. Виявлено, що фантастичні персонажі, створені за рахунок хорового чинника, формують дві оперно-хорові сюїти: розосереджену русалок та концентровану – підводного й лісового світів. Визначені драматургічні функції хорового чинника, зокрема: фантастична, символічна, колористична, дієва, коментатора, носія ключових слів, функція тла.

"The relevance of the study is determined by the need to cover the significance, uniqueness and means of performance of one of the masterpieces of the Viennese Classical School — Fantasia in c minor, op. 80 for mixed choir, piano and orchestra by Beethoven. The aim of this publication was to study the problems of performance interpretation of the legacy of the Viennese Classical School using the example of L. Beethoven’s Fantasia for piano, soloists, mixed chorus, and orchestra. Research methods were: creation of an information background; comparative analysis and structuring of information; identification of the categories that make the basis of the problem; generalization of obtained data. The materials based on audio and video recordings of the work by prominent representatives of the performing arts were used. The literature on the stylistic and compositional atmosphere of the era of Viennese classicism, as well as on features of the genres of the work was also used. The results of the study revealed the interrelationship of all components of the problem being studied. They evidenced the inseparability of such elements as genre, musical form, instrumentation, manner of performance, a certain historical period, as well as the stylistic orientation prevailing within it. Its main categories were identified while studying the chosen topic, as well as their dependency on the temporal, stylistic, individual, and psychological (performers’ personalities) context was established. These facts became a theoretical and methodological contribution to art science, history of performance, as well as music pedagogy. As a conclusion of the study on performing interpretation of the Viennese classics using the example of Fantasia by Beethoven, its genre stylistic and compositional technical universality was determined; the process during which the piano becomes a solo concert instrument; the role of improvisation in the large-scale synthetic genre; development of a single performance concept by the conductor, pianist and choirmaster, diversity of artistic and psychological types of performance while preserving the main author’s idea. The research of this topic has wide prospects in the future, thanks to its volume, multi-vector nature, connection with a wide range of musical subjects, and sensitivity to individual styles of interpretation in the context of different epochs. This is emphasized by the value of classical heritage, the need to preserve and popularize it. Keywords: performance interpretation, genre uniqueness; author’s performance; improvisation; synthesis of musical forms; solo concert instrument."

Statement of the problem. During the Soviet period, the development of the domestic choral studies was inhibited due to the impossibility of publishing researches in the Ukrainian language. Single, but significant researches of the outstanding Ukrainian practicing choirmasters Konstantin Pihrov and Mykola Kolessa became the summation of their experience, which gained unparalleled importance for the development of choral studies, its performing branch. During the time of Ukrainian independence, the situation changed for the better thanks to choral culture urgent issues study, which necessarily requires a systematic approach to the Ukrainian choral studies categorical apparatus development. The relevance of the study topic is that nowadays the choral studies categorical language remains incompletely studied, in particular, such an important component of it as choral performance. Recently research and publications. Analytical studies of the Ukrainian choral experts and practicing choirmasters in the performance field are devoted to topical issues regarding universalization of the choral conductor profession (Yu. Kalyniuk, Yu. Tkach), searching for new means of expression in choral performance (Yu. Puchko, Ye. Bondar), working with choirs of various creative directions and age specifics (Yu. Ivanova, O. Letychevska). In particular, Nataliia BielikZolotariova, Olena Zaverukha, Oleksii Fartushka were involved in the choral studies of categorical apparatus. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the essence of the “choral performance” category of modern choral studies. The research is based on the application of historical-contextual, systemic, terminological, choral studies methods of analysis. Its scientific novelty lies in the fact that, in this study, for the first time in domestic musicology and choral studies, the category of “choral performance” and its components was considered, the specific regularities of the choral performance process were clarified. Results and conclusion. As a result of the “choral performance” category analysis, a definition of the chorus as a representative of choral performance was provided, as well as the essense specifics of choral performance containing, first of all, in the characteristic of the actual performer presented as the symbiosis of the choral team and the conductor. As a conclusion, the components (levels) of the studied categories are determined: professional, amateur, educational choral performance. In turn, at certain levels of choral performance, additional branches are formed: academic, folk, church, pop, children’s and other directions. Since the defined levels of the category “choral performance” have a systemic nature, the category as such appears as an open-ended metasystem.