Çì³ñò æóðíàëó "Ñòó䳿 ìèñòåöòâîçíàâ÷³" çà

2007, 2008, 2009, 2010, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020 ð³ê


¹ 1, 2, 3, 4



"Ñòó䳿 ìèñòåöòâîçíàâ÷³" ¹1 (2010) - çàâàíòàæèòè


²ñòîð³ÿ
Òåîð³ÿ ³ ìåòîäîëîã³ÿ
Ñó÷àñí³ñòü
Ïîñòàò³
Îãëÿäè. Ðåöåí糿
²íôîðìàö³ÿ ïðî àâòîð³â


²ñòîð³ÿ
History

Ñóïðóí-ßðåìêî Íàä³ÿ
Suprun-Yaremko Nadiia		 ÏÀÐÒÅÑͲ ÊÎÍÖÅÐÒÈ ÓÊÐÀ¯ÍÑÜÊÈÕ ÍŲÄÎÌÈÕ ÀÂÒÎв XVII ÑÒÎ˲ÒÒß: ÀÍÀË²Ç ÔÀÊÒÓÐÈ Ï'ßÒÈÃÎËÎÑÈÕ ÏÀÐÒÈÒÓÐ
The Partes Concerts of the XVII Cent. Ukrainian Unknown Authors: Musical Texture Analysis of the Five Voices Scores		 ñ. 7
Êàðìàç³í Àíòîí
Karmazin Anton		 ÌÈÕÀÉËÎ ÂÅÐÈʲÂÑÜÊÈÉ ² ÌÎÄÅÑÒ ÌÓÑÎÐÃÑÜÊÈÉ: ²ÑÒÎÐÈÊÎ-ÑÒÈËÜβ ÏÀÐÀËÅ˲ ÒÂÎÐ×ÎÑÒ²
Mykhailo Verykivskyi and Modest Musorgskyi: Their Creativities' Historical and Stylistic Parallels		 ñ. 15
Ôðàíò Îêñàíà
Frait Oksana		 ÀÍÀÒÎËÜ ÊÎÑ-ÀÍÀÒÎËÜÑÜÊÈÉ ßÊ ²ÍÒÅÐÏÐÅÒÀÒÎÐ ÏÎÅÒÈ×ÍÈÕ ÒÂÎв ÎËÅÊÑÀÍÄÐÀ ÎËÅÑß
Anatol Kos-Anatolskyi as a Commentator of the Oleksandr Oles Poetry		 ñ. 22
ͳêîëàºâà ˳ä³ÿ
Nikolaieva Lidiia		 ÑÎËÎÑϲÂÈ ÀÍÀÒÎËß ÊÎÑ-ÀÍÀÒÎËÜÑÜÊÎÃÎ ßÊ ÔÅÍÎÌÅÍ ÓÊÐÀ¯ÍÑÜÊί ÊÀÌÅÐÍÎ-ÂÎÊÀËÜÍί ÌÓÇÈÊÈ
The Anatol Kos-Anatolskyi Solospivs as a Phenomenon of the Ukrainian chamber-vocal Music		 ñ. 28

Òåîð³ÿ ³ ìåòîäîëîã³ÿ
Theory and Methodology

Ñþòà Áîãäàí
Siuta Bohdan		 ÄÈÑÊÓÐÑ Ó ÌÓÇÈÖ² É ÒÅÎÐ²ß ÄÈÑÊÓÐÑ-ÀÍÀ˲ÇÓ Â ÌÓÇÈ×Í²É ÍÀÓÖ²
Musical Discourse and Discourse-Analysis Theory in the Musicology		 ñ. 35
Á³ëà Êàòåðèíà
Bila Kateryna		 ÑÏÅÖÈÔ²ÊÀ ÂÈÇÍÀ×ÅÍÍß ÑÒÈËÞ Â ÊÎÍÒÅÊÑÒ² ÑÓ×ÀÑÍÈÕ ÒÅÍÄÅÍÖ²É ÌÓÇÈ×ÍÎÃÎ ÌÈÑÒÅÖÒÂÀ
The Style Definition Specifics in Context of the Musical Art Modern Tendencies		 ñ. 43
Ïðèëåïà Îëåñÿ
Prylepa Olesia		 ÁÎÃÎÐÎÄÈ×Ͳ  ÒÅÎв¯ ÁÎÃÎÑËÓÆÁÎÂÈÕ ÆÀÍвÂ
"Bohorodychni" in the Liturgical Genre Theory		 ñ. 48
Êàðïÿê Àíäð³é
Karpiak Andrii		 ÀÊÓÑÒÈ×Ͳ ÂËÀÑÒÈÂÎÑÒ² ÔËÅÉÒÈ ² ÏÐÎÁËÅÌÈ ÀÐÒÈÊÓËßÖ²¯
The Flute Acoustical Properties and the Articulational Issues		 ñ. 57
Ìàêñèì³â Ñîëîì³ÿ
Maksymiv Solomiia		 ÀÊÀÄÅ̲×ÍÀ ÑÎϲËÊÀ ÒÀ ¯¯ ÂÈÊÎÍÀÂÑÜʲ ÀÏ˲ÊÀÒÓÐÈ
The Academical Pan-Pipe and Its Finger Training		 ñ. 63

Ñó÷àñí³ñòü
Modernity

Îëåêñþê Îëüãà
Oleksiuk Olha		 ÒÐÀÄÈÖ²ÉÍÀ ÑÊÐÈÏÊÎÂÀ ÌÓÇÈÊÀ  ÑÅ˲ ÑÒÀÂÈÙÅ ÊÀ̲ÍÜ-ÊÀØÈÐÑÜÊÎÃÎ ÐÀÉÎÍÓ ÂÎËÈÍÑÜÊί ÎÁËÀÑÒ²
The Traditional Violin Music in Stavyshche Village (Kamin-Kashyrskyi District, Volyn Region)		 ñ. 71

Ïîñòàò³
Prominent Figures

Áåçðó÷êî Îëåêñàíäð
Bezruchko Oleksandr		 ÒÂÎÐ×À ² ÏÅÄÀÃÎò×ÍÀ IJßËÜͲÑÒÜ Â²ÊÒÎÐÀ ÄÎÂÁÈÙÅÍÊÀ  1938-1947 ÐÎÊÀÕ
The Creativities and Teaching of Viktor Dovbyshchenko in 1938-1947		 ñ. 78
Äóò÷àê ³îëåòòà
Dutchak Violetta		 ÍÀÓÊÎÂÎ-ÏÓÁ˲ÖÈÑÒÈ×ÍÈÉ ÄÎÐÎÁÎÊ ÒÀ ÅϲÑÒÎËßÐ²É ÂÎËÎÄÈÌÈÐÀ ËÓÖ²ÂÀ  ÊÎÍÒÅÊÑÒ² ÄÎÑ˲ÄÆÅÍÜ ÌÈÑÒÅÖÒÂÀ ÓÊÐÀ¯ÍÑÜÊÎÃÎ ÇÀÐÓÁ²ÆÆß
The Volodymyr Lutsiv Scientific and Publicistic Heritage and Epistolarium in context of the Ukrainian Foreign Researches of the Fine Arts		 ñ. 88
Íåìêîâè÷ Îëåíà
Nemkovych Olena		 ÌÈÊÎËÀ ÃÎÐIJÉ×ÓÊ ² ÑÓ×ÀÑÍÅ ÓÊÐÀ¯ÍÑÜÊÅ ²ÑÒÎÐÈ×ÍÅ ÌÓÇÈÊÎÇÍÀÂÑÒÂÎ
Mykola Hordiichuk and Modern Ukrainian Historical Musicology		 ñ. 94

Îãëÿäè. Ðåöåí糿
Surveys. Reviews

Ñèðîòèíñüêà Íàòàëÿ
Syrotynska Natalia		 ÏÓÁ˲ÊÀÖ²ß ÍÀÉÄÀÂͲØί ÓÊÐÀ¯ÍÑÜÊί ÍÎÒÎ˲ͲÉÍί ÏÀÌ'ßÒÊÈ Â Í²ÌÅ××ÈͲ
The Publication of the Oldest Ukrainian Musical Notation's Instruction in Germany		 ñ. 100
Êóøí³ðóê Îëüãà
Kushniruk Olha		 Ó ÐÀÊÓÐѲ - ÊÀÌÅÐÍÎ-ÂÎÊÀËÜÍÈÉ ÆÀÍÐ
A Zoomed Chamber-Vocal Genre		 ñ. 104
ѳêîðñüêà ²ðèíà
Sikorska Iryna		 "×ÅÐÂÎÍÀ ÐÓÒÀ-2009" ÇÀÏÀËÈËÀ Íβ DzÐÊÈ
"CHERVONA RUTA-2009" Has Inflamed New Stars		 ñ. 107
Ãîôìàí ²ðèíà
Hofman Irina		 ÌÈÑÒÅÖÜÊÀ ÏÎÄÎÐÎÆ Ó ×ÀѲ (ïðî ïðîåêò Æîðä³ Ñàâàëÿ "Dimitrie Cantemir "Le Livre de la Science de la Musique" et les traditions musicales Sphardes et Armniennes")
The Artistic Trip in Time (About the Jordi Savall Project)		 ñ. 111

²íôîðìàö³ÿ ïðî àâòîð³â
Information About Authors

²ÍÔÎÐÌÀÖ²ß ÏÐÎ ÀÂÒÎвÂ
Information About Authors		 ñ. 121