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European Journal of Arts 4 (2021) - PRE_M|ER Section 2. Musical arts - ISSN 2310-5666 -
UDC: 785.6 DOI: 10.29013/EJA-21-4-32-39
D. V. KASHUBA 1
1 Kharkiv I. P. Kotlyarevsky National University of Art, Kharkiv, Ukraine
MUSICAL AND EXTRAMUSICAL IN GENRE STRUCTURE OF INSTRUMENTAL CONCERTO
Abstract
The article studies the components of genre structure of instrumental concerto, constituting extramusical layer of its content. Variability of significance of extramusical factors and forms in which they are embodied in various types of instrumental concerto is noted. Conclusion is made about conceptual capability of instrumental concerto to be an artistic generalization of typological features of certain historical era and universal principles of thought.
Aim: examination of certain pivotal characteristics of instrumental concerto as an artistic generalization of universal principles of thought, typical and specific for given historical era sociocultural relations by the means of musical art.
Methods: observation, systematization, comparison, generalization, as well as sociological and historical methods.
Results: extramusical components of key constituents of instrumental concerto are defined; it is stated, that these components belong to different levels, embracing universal logical premises and their realization in over-historical spacetime, local traits of sociocultural situation, in which crystallization of studied genre happened, as well as paradigmatic principles of a historical era, which created conditions for its formation; a problem of specifics of incarnation of musical and extramusical constituents of instrumental concerto in its genre variants is formulated; this thesis is applied to piano concerto as a type of work, which matured in the last third of XVIII-XIX century.
Scientific novelty: the article contains a view on instrumental concerto as a generalization of multi-layered extramusical content with the means of musical art, thus it can be regarded as a conceptual genre, bearing universally valued meaning.
Practical significance: scholarly approach to instrumental concerto, suggested in this article, theses formulated in it and its conclusions can be applied in musicological and academical practice for research on general problems of musical genres and their historical evolution.
Keywords: extramusical; musical; instrumental concerto; dialogue; play; festivity; Baroque; Romanticism.
For citation: D. V. Kashuba. Musical and Extramusical in genre Structure of Instrumental Concerto // European Journal ofArts, 2021, №4. - C. 32-39. DOI: https://doi.org/10.29013/EJA-21-4-32-39
Introduction
Longevity of instrumental concerto (as its lifespan embraces more than four centuries) proves both its versatility, ability to adapt to any changes caused by the shift of epoch or musical style and significance of its content, embodied by the means of artistic expression, its everlasting relevancy. Instrumental concerto emerged, like other genres, "on the verge" (in the words of M. Aranovsky) of musical and extramusical [1, P. 9], thus becoming a product of reflection of certain socio-cultural realms and relations in artistic mind and creative activity. As a result of studying the research on problems related to instrumental concerti
(such as works by E. Antonova, B. Asaf'ev, E. Bragins-kaja, M. Lobanova etc.), it becomes obvious that the scholars incline to focus their attention on intrinsic attributes of genre, on its inner structure, as a strictly musical phenomenon. The other side of instrumental concerto, extramusical, has not drawn such attention yet and its research is not exhaustive nor systematic. This article is a result of cerebration on certain pivotal traits of instrumental concerto as artistic generalization of universal principles of logical thinking, typical and specified historical socio-cultural relations by the means of musical art. Special attention is devoted to solo concerto, in which typical features of the genre,
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discerned by musicological research, are represented in the most coherent and conspicuous way.
Subject Sections
As far as in the 60 s-80 s, A. Sohor called for understanding of the essence of any musical genre from the standpoint of its existence and purpose - this scholar devoted multiple works to this problem [6, P. 7]. He considered genre in music as a "type of musical work, defined primarily by the situation of its performance, which inevitably shapes the work <...>" [6, P. 28]. In other words, "the genre of the work is defined by its position in practice of social music-making" [7, P. 309]. Later E. Nazajkinskij [8, P. 94] indicated that the real-life purpose of musical genres might be a criterion of their differentiation. But these ideas were left on periphery of musicological development and practical application, and A. Cuker noted that and attempted to "revitalize" A. Sohor's approach to understanding of genre and defend its significance. "Historical musicology,- writes this scholar,- in its studying ofprinciples of creation and development of musical genres, concentrates mainly on understanding of spiritual essence, ideal nature of these processes. They are understood as a product of artistic activity, but the conditions, which shaped both genesis and perception of a certain genre are often 'overlooked'. In reality, the music experienced <.> influences ofboth the spiritual and materialistically-physical circumstances" [9, P. 17]. In order to substantiate his thesis A. Cuker gives an example from the era of genesis of opera genre. The author explains the lead of Florence in this process by enormous material and financial resources, which could be used by the collective of authors of theatrical plays. It was caused by the fact that opera in Florence had been born in the atmosphere of courteous and aristocratic performative culture, which aimed to overawe the listeners-spectators with the grandeur, luxury and exuberance [9, P. 18]. Contrary to that, democratic public, subsidies of competitive Venetian theatres by rich, but still not omnipotent patrons became certain obstacles for imagination of the directors and cast, which was not conducive to the flourish of the opera [9, P. 19].
S. Mokul'skij gives an interesting information on the genesis of tiered construction of the theatre as an object of architecture in XVII century. It was the Venetian-originated practice of public opera performances that caused the need for such type of theatres and the first of them -San-Cassiano, where operas by C. Monteverdi have been staged. By calling it "tiered" (contrary to democratic am-
phitheatre), S. Mokul'skij indicates its heredity from Medieval tradition of piazza plays. The windows of aristocratic houses turned into boxes of tiered theatre, and the action itself was located on the stage [10, p. 321-324]. Cited research materials can be a basis to regard the genre of instrumental concerto in aspect of its sociocultural genesis which not only has contributed to its emergence, but also laid foundation of its artistic and aesthetic content.
All the scholars of this genre tend to indicate its dia-logical nature - in one way or another. Dialogue, opposition, dichotomy can be found in etymology of the word "concerto" itself, which means both competition and cooperation. From the musical standpoint, simultaneous performance is a nucleus of genre's artistic structure, its essence, which is attributed by different ways of interaction of co-operators/competitors, causing principles of creation of form and themes, musical texture, sonically-acoustic image of the work. E. Roshhenko supposes an interesting approach to "competition" ("concertato") in music from extramusical standpoint. The scholar extrapolates this phenomenon on different types of art. Regarding Renaissance with its Hellenism as a period when the principle of concerto competition was born, the author understands concerto as a mythologem, as an idea, constituting the core of different plot motives. The author lists such motives, including rivalry for love, intertwined with prosecution and renunciation from love, contests in mastership, in beauty, for power etc. [11, P. 417]. The mythologem of rivalry, according to E. Roshhenko's words, interacts with the essence of play - a principle especially conspicuous in rituals, song "competitions" and Dionysus-like rites [11, P. 417]. Thus, the musicologist comes to a conclusion that both concerto as a genre a concertoness as a principle "have mythologically-ritual, literary-poetical, plot-like genesis, inevitably influencing the musical text" [11, P. 422].
The works of E. Roshhenko provoke a thought that both mythologically-ritual and literary-narrative can be seen as universals of human's self-awareness in the world, of common living, that they are archetypical relations, which are embodied and reflected in different artistic and sociocultural forms. In a concerto genre, they are present in an opposition "rivalry-cooperation", to which a concerto owes its name. This pair of co-dependent yet different in their nature relations constituted genetical code of the concerto, explicated through opposition and comparison - between instruments, instrumental groups and tutti. A symphony retained this genetic connection
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to a concerto in usage of its textural and performative means, but melted it into the laws and rules of symphonic orchestration, giving them another functions and subordinating them to artistically-conceptual tasks.
Transformation of extratemporal concepts into phenomenon of musical art was partially determined by historically-cultural situation in which a concerto genre appeared. V. Zharkova considers it as a predictable that this genre emerged in Venice in the Baroque era. The author states that the musical life of the city was "governed by a spirit of contest". The scholar supposes that it was nurtured by the democratic atmosphere ofthe republic, which "supposed competition of noble families in the election to City council". Thus, "all the characteristics of city's cultural life bore the mark of a contest" [12, P. 26]. This thought allows V. Zharkova to draw a conclusion that the formation of concertoness, one of the most important principles of creativity in XVII century, was largely influenced by social circumstances [12, P. 26]. The scholar finds its traces in various contrasts: dynamical, spatial, modal, genre, timbral, logical [12, P. 26], thus (in a broad sense) - in a dialogue.
As it seems from the context of V. Zharkova's treatise, there is another factor of no less importance for formation of concertoness: problem of balance between private and general interests as incarnation of a dialogue between a man and society [ibid]. And while the musicologist does not decipher ambiguous meaning of the word "concerto", a conclusion becomes obvious that this name was given to this genre since it indicates dialectics of gravity-repel, reflected in inclination to competition and to cooperation. Furthermore, observations of E. Ro-shhenko and V. Zharkova allow to see that competitiveness and cooperation are deeply ingrained in sociocul-tural practices and the activity of an individual: the will to self-definition, that is not only opposed to stimuli to unification, but is also dependent from it. Thus, a concerto can be seen as a generalization of one of the constants of socially-interpersonal relations by the means of instrumental art on genre level.
These viewpoints of mentioned scholars allow to interpret concertoness as one of universal principles of European culture in the Modern period of history which accumulates relations of differently directed social practices, whose interaction becomes its moving force. A musical genre, which originated from concertoness and inherited its root in its name, became the first instrumental conception to generalize not only the situation of rivalry, but also dualistic essence of the world.
In different embodiments of concerto dialogue these universals are represented in various modifications of their meaning and ways in which they are incarnated, depending on presence or absence of solo or concerting instruments and their ensemble groups/concertino. In solo concerto such oppositions are modeled as "individual - collective", "personal - common", "private - shared", "persona (human) - fate, society, world" etc. Thus, in solo branch of genre special situation of mono-dialogue is constructed, which supposes infiltration of dialogue into the parts of its participants, especially - of a soloist. In a term "mono-dialogue", proposed by A. Mizitova, the scholar comes from the nature of this genre, in which expression of an artistic idea has the form of saying. And the word "saying" "indicates the presence of another 'I' - be it real or hypothetic". In the latter case, when a collocutor is a virtual object, it is devoid of inner contradictions, "because it expresses a certain viewpoint", but if the opponent is "my other self", then hitherto whole conscience becomes "divided in two extremities, reflecting each other and calling for action" [13, P. 187]. The author expands the concept of mono-dialogue onto all types of concerto, but we suppose that in the most discernible way it is embodied in the solo "branch" of a genre, where monologue becomes adj acent with a "firstperson" saying. As an example, we may refer to the first movement of Second Piano concerto byJ. Brahms, where the part of soloist being totally dialogical determines the vector in which dramaturgical process develops.
In strictly musical dimension concerto dialogue influences all the layers of the composer's text, such as syntaxis, composition, dramaturgy, stylistics, rhythm, temporally-kinetic layer, thus providing both the composer and the performers with almost unlimited possibilities of artistic initiative and ways in which the image and content of musical work can be transferred into sound, which reflects objectively existing multitude of sociocul-tural relations, reflected in this genre in a "mediated" way.
Comprehension of extramusical layer of instrumental concerto is impossible without referencing to a historical culture, whose phenomena and the atmosphere itself not only assisted in formation of genre, but also were "immortalized" in its typological attributes and numerous realizations, created by Venetian A. Vivaldi. P. Barbier regards famous Maestro as a unique example of "complete unity of a city, human and creativity, not only because he was born in Venice and lived all his life there, <.. .> but also, primarily, because everything in his instrumental and vocal works reflected livelihood and <...> the colours, characteristic
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for fluid and transprent Venice" [14, P. 18]. The scholar describes Venice ofA. Vivaldi's times as city-feast: "<...> altogether almost half of the year is devoted to free and joyous festivities" [14, P. 72]. The carnivals were undoubtedly a quintessence ofVenetian spirit. Various forms ofplay were presented, such as obligatory masks, including theatrical, various travesties and metamorphoses, amorous games, sport competitions. P. Barbier states that sometimes the spectators joined the latter and "hurled into the combatants everything capable of being thrown: tiles, boiling water, chairs, home appliance etc." [14, P. 76]. A. Vivaldi embodied all these breath-taking contrasts, vigorous rhythms, energy and festive tone in his concerti [14, P. 120]. While summarizing his description of Venice, the atmosphere of which became an essential part ofA. Vivaldi's works, P. Barbier notes availability ofopera theatres in the city, as well as ofcarnivals, religious ceremonies, large-scale public festivities, as in Venice "collective entertainment" and "ostentatious luxury" were "integral part of the art of living" [14, P. 224]. We will add that it was Venice where beforemen-tioned San-Cassiano theatre was opened in 1637, which paved the way for new era in musically-theatrical art and its existence, inseparable from commercialization of the opera, publicity of performances and them happening in a certain specially constructed place, as well as from domination ofvisual element [15, P. 138].
"Gamification" of sociocultural relations and the way of life itself, festivity as a "denominator" of city-state were artistically generalised by the means of instrumental music in numerous concerti by A. Vivaldi, who became one of the progenitors and "classics" of this genre, which has its own extramusical semantics and a set of compositional and idiomatic devices. Establishing the connection between the play and entertainment, A. Zaharov appeals to a thesis by H.- G. Gadamer, according to which "the people playing as an entertainment simultaneously enjoy observing themselves as players and demonstrate their play to others" [16, P. 32]. This is especially important for solo concerto, with its improvisation or Cadenza, when the orchestra becomes silent (thus turning into a group of listeners as well), with its musicians enjoying the performance of the main "hero" of the concerto. This is the way in which typical for play metamorphoses of the orchestra members happen, change of their persona.
It is worth noting that A. Zaharov is not inclined to place entertainment on the bottom of the hierarchy of
cultural values, as he regards it as a "intermediary between sacral and profane approaches to the world" [16, P. 35]. Application of this standpoint allows to consider instrumental concerto to be a way in which the image of Venetian Baroque culture is being "melted" into a certain musical form. Due to this, the features of this image acquire over-historical, universal significance and enter "genetical code" of a genre.
The same can be said about festivity. According to B. Kononenko's definition, a feast creates a borderline zone between real life and the work of art. If we take into account that a feast is always a special event, something distinct from mundane "ritual" of life, the reasons of the same name ofinstrumental genre and one of the most important form of musical performance become obvious1.
In a concerto genre play becomes one of the semantic modes of a dialogue, but its significance is wider, as it can be seen in a dramaturgy of replies, virtuosity of instrumental parts, diversity of articulation and textural devices, capriciousness of rhythm, sometimes becoming adjacent with theatrical personification. We must remember that E. Nazajkinskij practically equates logics of musical play with concertato [17, p. 221-228]. In his turn, K. Bila sees it as a reflection of Renaissance play aesthetics, mirrored with Baroque artistic thought and included to "gene pool" of instrumental concerto. And festivity integrates both impulses from the atmosphere of Venetian modus vivendi, but also from Venetian tradition of choral antiphon in lavish interior of St. Mark's Cathedral, and from infiltrating everyday life practice of inclusion of woodwind and brass ensembles in various ceremonious and ritual acts. We should not forget the influence of drama per musica / opera on Baroque instrumental music, as these performances used to open with pompous introduction. It is rather symptomatic that even in the next eras instrumental concerti from the very first sounds usually create atmosphere of something monumental, and rare occasions of rather chamber-like sonority in the opening (like in Fourth Piano concerto by L. van Beethoven or Second Piano concerto by J. Brahms) are considered to be special compositional device.
Extramusical structure of instrumental concerto includes one more layer, connected to the aesthetics and poetics of the Baroque era. M. Lobanova notes that this historical era was governed by antinomies: "Baroque universum is a playground for rivalry between opposites".
1 Kononenko B. Large explanatory dictionary of culturology.- Moscow. Veche AST, 2003.- P. 327.
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Good and evil, yes and no, happiness and grief - "Baroque unity is found in comprehension of contradictions, as a harmony is found in a conflict" [19, p. 55-57]. In this context we may understand not only why the principle of contrast was "found" as one of universal principles of musical organisation, but why it was absolutized in instrumental concerto, where it affects all the layers of artistic structure: timbral, organological, acoustically-sonic, thematic, architectonic, processual.
Another trait, essential for instrumental concerto, play, is also a typological feature of Baroque era. Particularly, M. Lobanova shows that play defines the main content of Baroque concerto practice: "Principle of 'joint sonority', which was initially attached to usage of multiple choirs, was gradually ousted by 'argument', 'rivalry' " [19, P. 74]. Another trait of Baroque culture, of no less importance, noted by this scholar, a principle of inventio, was also generalised in concert improvisation. Finally, this genre allowed to reflect in music views on space, time, movement and their relations, relevant for the era, which "spawned" instrumental concerto [19, P. 74]. Thus, it is appropriate to view instrumental concerto as a conceptual genre, a "representative" from era in which it appeared. It is characteristic, that in XX century Neo-Baroque was first and foremost aimed at this type of musical works.
We must note that these genre constants of instrumental concerto, as well as extramusical circumstances that conditioned them, are reflected in various ways in different types of concerto, including piano concerto1. While G. Stahevich indicates the end of XVIII - 1st half ofXIX century as a time when this genre was crystalized, he favours stylistic approach of research, which allows him to trace interactions in the works by various authors belonging to Classical or Romantic tendencies [22]. If we are to regard concerto for piano and orchestra in its invariant dimension, then its extramusical dominant is a constantly shifting concept of a human, which determined a choice of solo instrument, as well as a large number of piano concerti, and social demand for production, created by the composers or virtuoso performers.
We must note that the type of instrumental concerto for solo instrument and orchestra dates back to Baroque
era, when "discovery of world and human" [19, P. 32] happened, which falls in line with dialectical pair "singular - common", which, in its turn, constitutes extramusical dimension of the model "soloist - orchestra". But by the end of XVIII century "singular" acquired the significance of "personal" - this process can be conspicuously illustrated by W. A. Mozart's operas. In the Romantic era, the higher level of hierarchy of sociocultural values has been occupied by a unique personality of human, who entered complicated relations with the world and who became the world himself. Piano concerto was a perfect solution for the task, which was to reflect multidimensionality of the personality itself and its relations with various extraneous phenomenon; and the history of concerto's origin, dating back to J. S. Bach's concerti, proves legitimacy of viewing a concept of human as a cornerstone of genre's extramusical content. It becomes obvious that piano concerto owes its relevancy for artistic and listener's attention to the very solo instrument for which it was created. Unprecedented sonic realm, created by piano, allowed to create multidimensional poly-timbral acoustic space, capable ofmatching just as rich timbre palette and acoustic volume ofa symphony orchestra. Further elaboration of the instrument allowed to widen the area of possible orchestral devices, turning piano concerto into a "hero" of mass musical actions in large concert halls, the event revealing festive component of a genre.
History of Romantic piano concerto is connected to such sociocultural phenomenon as culture of virtuoso performance and ideal of virtuoso pianist, represented by it. A. Genkin characterizes aesthetic ideal of the "virtuoso era" as "pianness" of the performance, which is realized "through pianism", and a player, who meets this criterion - as a pianist, capable "with the highest degree of mastership" of creating "aesthetically perfect world of kinetic and sonic plastique" [23, P. 137]. Considering enormous demand for the performances ofvirtuoso pianists, we can state that their activity exceeds just the performance, turning into significant event of sociocultural life and reflecting modern social need. At the same time, widespread interest in playing the piano caused its deep integration into everyday life, which, in its turn, stimulated creation of the works of virtuoso type as a "benchmark" for the mastership of the performer. According
1 Currently there are two ways to name the works for solo instrument and orchestra: with the soloist being named first, or the orchestra. In the former case, as it is done by O. Burel, the first way is chosen, which, in our opinion, underlines cooperation, coordination, equality; in the latter case it is the orchestra that becomes a "protagonist" of concerto (refer to the name of the article by I. Ivanova [21]). There is a third way to write a "name" of the work: with accenting the leading position of the soloist (for solo instrument and orchestra).
Section 2. Musical arts - PREM|ER European Journal of Arts 4 (2021) - ISSN 2310-5666 -
to A. Genkin, person's self-expression in this type of art was possible with a persona of "virtuoso artist" and had extravert orientation [24, P. 73].
As for concert dialogue-competition, a pianist's goal to incarnate personal reflection on the one hand, and growing complexity of orchestral parts, on the other hand, turned it into a place where symphonic-like conflict unfolds, and the opposition "personality - world" acquired tense dramatic character. Virtuosity as play and reflection as inner experience shaped semantic field of piano concerto in the period of its genre crystallization, which coincides with the essence of Romantic era. It won't be an overstatement to regard piano as a musical symbol of Romanticism and piano concerto as a way of its self-cognizance.
Conclusions
Genre structure of piano concerto, as well as of any other genre, lies on intersection of musical and extramusical. Dialogue, present both in the genre and its name, is expressed through interaction of orchestral parts, instrumental solo and ensemble groups, and models universal principles of human thought, sociocultural relations and duality of the world.
Certain historical forms in which these relations were embodied, on the basis ofVenetian life ofXVII - 1st half of XVIII century, constituted extramusical layer ofinstrumen-tal concerto's content, as in this period a concerto reached a stage of genre crystallization, and Venetian A. Vivaldi played a significant role in this process. Thus, play and festivity become core features of instrumental concerto.
Being the first type of orchestral work crystallized in the Modern period ofEuropean history, instrumental concerto became an expression ofthe era which created it, as it accumulated and generalized with musical devices the principles of thinking and phenomena typical for this age, thus concerto acquired the significance of conceptual genre.
As the instrumental concerto had historical development, it separated into different types, with each of them causing re-accentuation and reconsideration of concerto's invariant traits; this process was conditioned by the shifts in artistic thought and self-cognizance of cultural eras, as well as by stylistic and organological factors.
Piano concerto is an example of self-determination of instrumental concerto, as it became a result of interaction between musical and extramusical phenomena of Romanticism.
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Information about the author
Denys Vladislavovich Kashuba, Postgraduate student of the Department of Interpretology and Analysis of Music,
Kharkiv I. P. Kotlyarevsky National University of Art
Address: 61000, Kharkiv, Ukraine, Constitution Square 11/13
E-mail: denyskashuba93@gmail.com; Тел.: +380-669-25-90-30
ORCID: 0000-0002-9438-2200
Section 2. Musical arts - PREMJER European Journal of Arts 4 (2021) - ISSN 2310-5666 -
КАШУБА Д. В. 1
1 ХарКвський нацональний утверситет мистецтв iMeHi 1.П.Котляревського, Харкв, Укрална
МУЗИЧНЕ ТА ПОЗАМУЗИЧНЕ У ЖАНРОВ1Й СТРУКТУР1 1НСТРУМЕНТАЛЬНОГО КОНЦЕРТУ
Анотаця
Розглядаються складовi жанрово! структури шструментального концерту, що становлять позамузичний план його змшту. Вiдмiчаeться варiативнiсть значень виявлених позамузичних факторiв та форм !х втглення у рiзних жанрових рiзновидах концерту. Робиться висновок про концептуальш можливостi iнструментального концерту як художнього узагальнення типологiчних властивостей конкретно! вторично! епохи та ушверсаль-них лопчних принципiв мислення.
Щль: осмислення деяких ключових властивостей iнструментального концерту, як художнього узагальнення засобами музичного мистецтва загальнолопчних принципiв мислення, типових та конкретно-шторичних соцiокультурних вiдносин.
Методи: спостереження, систематизации порiвняння, узагальнення, а також соцюлопчний та шторичний методи.
Результати: визначено позамузичнi складовi ключових властивостей шструментального концерту; вста-новлено, що щ складовi мають рiзнорiвневий характер, охоплюючи унiверсальнi загальнологiчнi засади та !х реалiзацiю у над-кторичному часопросторi, локальнi особливостi соцiокультурних обставин, в яких в^бувалася кристалiзацiя анал1зованого жанру, а також парадигмальнi основи конкретно-шторично! епохи, що створила умови для його формування; сформульоване питання про специфiку втглення позамузичних та музичних сла-дових iнструментального концерту у його жанрових рiзновидах,• дане положения апробуеться на прикладi фортетанного концерту як типу твору, сформованого в останнш третинi XVIII - XIX столитя.
Наукова новизна: у стати здшснено спробу осмислення шструментального концерту як узагальнення засобiв музичного мистецтва багаторiвневого позамузичного змiсту, завдяки чому вiн може розглядатися як концептуальний жанр, що мае загальнозначущий змiст.
Практична значим^ть: запропонований у статт дослiдницький пiдхiд до шструментального концерту, висунуи у нiй науковi положення та зробленi висновки можуть використовуватися у музикознавчiй та акаде-мiчнiй практицi у зв'язку iз загальними проблемами музичних жанрiв та !хньо! вторично! еволюцп
Ключов1 слова: позамузичне, музичне, iнструментальний концерт, дiалог, гра, святковiсть, бароко, романтизм.
1нформац1я про автора
Кашуба Денис Владиславович, аспiрант кафедри iнтерпретологГi та анализу музики Харк1вського нацюналь-
ного ушверситету мистецтв iменi 1.П. Котляревського
Адреса: 61000, Харкав, Укра'ша, площа Конституцп 11/13
E-mail: denyskashuba93@gmail.com, Тел.: +380-669-25-90-30
ORCID: 0000-0002-9438-2200
