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  The effectiveness of music therapy as a non-drug approach to the correction of various pathological processes in the body

  (Società Italo-LatinoAmericana di Etnomedicina, 2021) Voskoboinikova, V. V.; Kalko, K. O.; Kulesha-Liubinets, M. M.; Nikolaievska, Yu. V.; Samoiliuk, O. V.; Rybalko, P.; Drogovoz, S. M.

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  Music therapy is one of the types of additional and alternative medicine. Music therapy is the use of music and/or its elements: sound, rhythm, melody, harmony, dynamics and tempo for therapeutic purposes. Music therapy is an integrative method of treatment that affects the progress of various pathological processes in the body. All activities related to music can have a therapeutic effect, but only music therapy like science and technology has clear therapeutic goals, and this is the only area of knowledge that uses music for therapeutic purposes. Thus, the use of music is an additional therapeutic tool in the treatment of various nervous diseases, cardiovascular, endocrine, excretory systems and is an effective non-drug approach to the correction of various pathological processes in the body.

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  Genre in the music communication system and the artist's mission

  (American Linguist Association, 2021) Serhaniuk, Liubov; Shapovalova, Liudmyla; Nikolaievska, Yuliia; Kopeliuk, Oleh

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  The concept of the genre in the creative practice of the 20th century is defined as a complete historical cycle. The purpose of the study is to review theoretical ideas about the role of genre in the communicative system of musical culture of the 20th century through the criterion of cooperation of the composer and performer. A. Sokhor, V. Zuckerman, Ye. Nazaikinsky, I. Kohanyk et al. explained the essence of the genre from different standpoints, revealing the fundamentally open nature of the theory itself. However, there are ontological laws of the genre development. The first law is that music genre exists as a system of functions. The second law is that genre exists in social practice as a conditional model of developed musical archetypes that reflect deep mental structures of communication. These laws are illustrated with such examples as the genre of toccata for piano (Italian composer G. Petrassi and Ukrainian composer I. Karabits); the genre of ancient ballads in the repertoire of modern kobzars; chrono-articulatory foundations of the polyphonic cycle of V. Bibik "34 Preludes and Fugues. The Second Notebook", typical communication strategies in creative work of modern artists and performers.

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  Performance poetics as an imalogical vision of a contemporary musical work

  (MAGNANIMITAS Academic Association, 2024) Kysliak, Bohdan; Shapovalova, Liudmyla; Vavryk, Ruslana; Hub'yak, Dmytro; Davydov, Serhii

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  The article considers features of musical performance in the context of imalogical vision. It is emphasized that in the process of performance, musical work can acquire extensively new meanings and functions. On the basis of contemporary examples, it is shown how imalogical vision of a musical work, shaped within performance poetics can become a tool of cultural diplomacy and soft power. The study employs interdisciplinary approach, combining vectors of musicology, philosophy, and political science.

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  Solo instrumental concert with the participation of folk and percussion instruments in the context of the new european tradition

  (MAGNANIMITAS Academic Association, 2024) Shapovalova, Liudmyla; Kysliak, Bohdan; Vavryk, Ruslana; Zinchenko, Viktoriia; Katryniak, Bohdan

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  The article makes an attempt to comprehend the evolution and development of instrumental concert with solo on folk and percussion instruments. New European musical culture is considered from the standpoint of not only musical theory, but also synergy and philosophy. Special attention in the study is given to bayan and accordion.

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  Тип елементу:Документ,

  Portraits and self-portraits of composers at the musical work

  (MAGNANIMITAS Assn., 2021) Serhaniuk, Liubov; Shapovalova, Liudmyla; Shehda, Lidiia; Kazymyriv, Khrystyna; Kolubayev, Oleg

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  The purpose of this exploration is to reveal the means and methods of artistic self-identification of the composer, recognizability of the uniqueness of his figure through a set of semantically expressive and symbolic features of individual style in the genres of musical portrait and self-portrait of the composer. In this regard, the need to take into account important methodological adjustments to the use of musical thinking as a complex syncretic category was actualized, because, in the study of portraiture samples, not only stylistic properties of musical text are important, but also mechanisms to cover the prototype in the integrity of visual, cultural, and stylistic embodiments and formation of a musical image on this basis. From this investigation, the following conclusions follow: a comprehensive consideration of methods of depicting the recognizable image of a particular musician-creator (personified bearer of absolute creativity) in a musical work in three versions - introverted (selfidentification, self-reflection, confession, self-analysis) representative (image, image, style, cartoon), and symbolic (signature, cryptogram, puzzle, generalization through style and genre, quote, etc.). The reference to quoting the monograms of outstanding musicians testifies to the desire of artists of other epochs to comprehend the artistic value and scale of their contribution to world music, to single out semantic dominants, in particular in polyphonic genres.

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