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The purpose is to study the artistic and pedagogical talent of Vasyl Vasyliev (Vasyl Vasyliev- Humanyk) (1898-1987), an artist of the Kyiv State Theatre of Musical Comedy, Honoured Artist of Ukraine. The methodology of the study is based on the following scientific approaches: general historical (outlining the historical and socio-cultural context of the formation and development of the artist's creative personality); analytical (studying historiographical sources); the method of analogy (to establish the relationship of creative approaches similarity) and survey (collecting information in the form of a telephone interview); systematic (studying V. Vasyliev's creative activity in the unity of performing and pedagogical creativity); historical and biographical (determining the main stages of V. Vasyliev's activity for the sequence of events). Scientific novelty. The study is the first attempt to collect, systematise, and analyse the information found about V. Vasyliev's creative and pedagogical activities and to assess the master's contribution to the development of Ukrainian theatre art in the mid-twentieth century. For the first time, archival photographic materials were introduced into scientific circulation, which complemented the understanding of the artist's creative path. Conclusions. The multifaceted talent of V. Vasyliev made a significant contribution to the development of musical theatre in the twentieth century. The collected and analysed materials testify to the unique talent of the comic performer V. Vasyliev, which was clearly manifested in the embodiment of leading roles on the stage of the Kyiv State Theatre of Musical Comedy. V. Vasyliev was an unsurpassed master of creating realistic images on stage; the methodology of working on a role involved psychological analysis of the role, studying the motivation of the character's psychological state with the determination of individual psychological motivations for behaviour on stage. The peculiarities of the performing style include a realistic approach to creating stage images, a preference for the "school of pretence", a unique organic combination of dramatic vocal and choreographic performing talent on stage, wide use of external expressive means, the ability to improvise with a partner, and the accurate use of comic and sketch techniques. During ten years of cooperation with the training theatre studio at the Kyiv Operetta Theatre, V. Vasyliev proved to be an extraordinary teacher. In his work with the students, he successfully combined the methods of actor's work on the role, characteristic of both the "school of experience" and Stanislavsky's system, and the representatives of the "school of pretence"., Мета – дослідити митецький і педагогічний талант артиста Київського державного театру музичної комедії, заслуженого артиста України Василя Васильєва (Василя Володимировича Васильєва-Гуманика, 1898–1987). Методологія дослідження базується на таких наукових підходах: загальноісторичному (окреслення історико-соціокультурного контексту становлення та розвитку творчої особистості митця); аналітичному (опрацювання історіографічних джерел); методі аналогії (для встановлення відношення схожості творчих підходів) та опитування (збір інформації у формі телефонного інтерв’ю); системному (вивчення творчої діяльності В. Васильєва в єдності виконавської та педагогічної творчості); історико-біографічному (визначення основних етапів діяльності В. Васильєва для послідовності викладення подій). Наукова новизна. Дослідження є першою спробою зібрати, систематизувати, проаналізувати виявлену інформацію про творчо-педагогічну діяльність В. Васильєва й оцінити внесок майстра в розвій українського театрального мистецтва середини ХХ ст. Уперше до наукового обігу введено архівні фотографічні матеріали, що доповнюють розуміння творчого шляху митця. Висновки. Багатогранний талант В. Васильєва став вагомим внеском у розвиток музичного театрального мистецтва ХХ ст. Зібрані та проаналізовані матеріали свідчать про унікальний талант комічного виконавця В. Васильєва, який яскраво проявився у втіленні провідних ролей на сцені Київського державного театру музичної комедії. В. Васильєв був неперевершеним майстром творення реалістичних образів на сцені; методика роботи над роллю передбачала психологічний аналіз ролі, вивчення мотивації психологічного стану героя з визначенням індивідуально-психологічних мотивацій поведінки на сцені. До особливостей виконавської манери можна зарахувати реалістичний підхід до створення сценічних образів, тяжіння до «школи удавання», унікальне органічне поєднання на сцені драматичного, вокально-хореографічного, виконавського таланту, широке використання засобів зовнішньої виразності, здатність до блискавичної імпровізації з партнером, влучне застосування комічно-етюдних прийомів виконання. Протягом десяти років співпраці з навчальною театральною студією при Київському театрі оперети В. Васильєв проявив себе як неординарний педагог. У роботі зі студійцями вдало поєднував методи роботи актора над роллю, характерні як для «школи переживання» та системи К. Станіславського, так і для представників «школи удавання».

Thepurposeis to study the artistic and pedagogical talent of Vasyl Vasyliev (Vasyl Vasyliev-Humanyk) (1898-1987), an artist of the Kyiv State Theatre of Musical Comedy, Honoured Artist of Ukraine.The methodology of the studyis based on the following scientific approaches: general historical (outlining the historical and socio-cultural context of the formation and development of the artist's creative personality); analytical (studying historiographical sources); the method of analogy (to establish the relationship of creative approaches similarity) and survey (collecting information in the form of a telephone interview); systematic (studying V. Vasyliev's creative activity in the unity of performing and pedagogical creativity); historical and biographical (determining the main stages of V. Vasyliev's activity for the sequence of events).Scientific novelty. The study is the first attempt to collect, systematise, and analyse the information found about V. Vasyliev's creative and pedagogical activities and to assess the master's contribution to the development of Ukrainian theatre art in the mid-twentieth century. For the first time, archival photographic materials were introduced into scientific circulation, which complemented the understanding of the artist's creative path.Conclusions.The multifaceted talent of V. Vasyliev made a significant contribution to the development of musical theatre in the twentieth century. The collected and analysed materials testify to the unique talent of the comic performer V. Vasyliev, which was clearly manifested in the embodiment of leading roles on the stage of the Kyiv State Theatre of Musical Comedy. V. Vasyliev was an unsurpassed master of creating realistic images on stage; the methodology of working on a role involved psychological analysis of the role, studying the motivation of the character's psychological state with the determination of individual psychological motivations for behaviour on stage. The peculiarities of the performing style include a realistic approach to creating stage images, a preference for the "school of pretence", a unique organic combination of dramatic vocal and choreographic performing talent on stage, wide use of external expressive means, the ability to improvise with a partner, and the accurate use of comic and sketch techniques. During ten years of cooperation with the training theatre studio at the Kyiv Operetta Theatre, V. Vasyliev proved to be an extraordinary teacher. In his work with the students, he successfully combined the methods of actor's work on the role, characteristic of both the "school of experience" and Stanislavsky's system, and the representatives of the "school of pretence".

Entre la dernière décennie du XIXe siècle et les premières du XXe, un grand nombre de compagnies d’opérettes italiennes ont traversé l’Atlantique afin d’exploiter le marché théâtral sud-américain, formé en grande partie par un public immigré. Au cours de ces tournées, de nombreux artistes ont fini par s’installer dans le Nouveau Monde. C’est le cas de Clara Weiss, une comédienne-chanteuse italienne devenue capocomica (directrice de troupe) en Amérique du Sud qui, tout en restant étroitement liée au monde de l’opérette italienne, a établi un pont entre les deux univers. Entre a última década do século XIX e as primeiras do XX, um grande número companhias de opereta italianas cruzaram o Atlântico para explorar o mercado teatral sul-americano, formado em grande parte por um público imigrante. Nessas excursões, muitos artistas acabaram por se fixar no Novo Mundo. É o caso de Clara Weiss, atriz-cantora italiana que se tornou capocômica na América do Sul, mas permaneceu estreitamente vinculada ao mundo operetístico italiano, estabelecendo uma ponte entre os dois universos. Between the last decade of the 19th century and the first ones of the 20th century, a large number of Italian operetta companies crossed the Atlantic to explore the South American theatre market, formed largely by an immigrant audience. On these tours, many artists ended up settling in the New World. This was the case for Clara Weiss, an Italian actress-singer who became capocomica in South America, but remained closely linked to the Italian operettistic world, establishing a bridge between the two universes.

Stana Ribnikar (= Đurić-Klajn), a Serbian musicologist and pianist, editor of the magazines Zvuk (Sound) (1932–1936) and Muzički glasnik (Musical Herald) (1938–1941), invited the Slovenian composer and music writer Slavko Osterc (1895–1941) to cooperation in the mentioned magazines. He published 45 different articles in them ‒ mainly music reviews. He reported on the musical life of Slovenia for the Belgrade magazines. In addition, he published essays on Slovenian and Serbian composers, a report on the international festival of contemporary music in Vienna, and several reviews of sheet music editions of Slovenian music. On one occasion, he also participated in a polemic. This study is devoted to the analysis of Osterc’s views on musical art. He was an opponent of operetta as an inappropriate stage type for the repertoire of the Ljubljana Opera, considering that operetta has no place in the repertoire of national theaters. Nevertheless, he appreciated the fact that operettas brought significant income to the theater and that thus the work on operas and ballets could be supported. Slavko Osterc separated musical work and performance. If a piece of music was properly prepared and performed superiorly, he always pointed it out, although the piece itself he did not particularly appreciate. Osterc was a supporter of the musical avant-garde, primarily Alois Hába and the Second Viennese School. He also wrote enthusiastically about the works of Sergei Prokofiev and Dmitri Shostakovich. However, he did not see the modernized national style as a desirable present and future of European and Yugoslav music. His idiosyncrasies came to the fore in his views on Western European music. He had no affinity for the music of Johannes Brahms, César Franck, and Richard Wagner. He thought that the sequence as a compositional tool was misused and thus created the appearance of an invention, so on several occasions, he wrote negatively about sequence as a structural element of a musical comp

U ovom se diplomskom radu, naslova „Solistički koncert“, u deset poglavlja prikazuju presjek programa solističkog koncerta, kratki pregled biografije i glazbenog stvaralaštva svakog skladatelja te detaljna formalno-interpretacijska analiza svakog djela na programu iz perspektive solista, tj. pjevača. Uz svaku analizu glazbenoga djela prikazani su i sadržaj i tekst skladbe na izvornom jeziku, kao i prijevod na hrvatski. Rad obuhvaća biografije i djela sljedećih skladatelja: Antonija Vivaldija (Col piacer della mia fede), Johanna Sebastiana Bacha (Seufzer, Tränen, Kummer, Not), Francesca Paola Tostija (Ridonami la calma, La serenata), Josipa Hatzea (Suzi, Serenada), Stefana Donaudyja (O del mio amato ben i Vaghissima sembianza), Giacoma Puccinija (Quando m'en vo') i Johanna Straußa II. (Mein Herr Marquis). U završnom poglavlju rada zaključuje se da su znanje o skladateljskom djelu, kao i pravilna pjevačka tehnika, uz dobro poznavanje fiziologije i muskulature vokalnoga aparata, preduvjeti za uspješnu i interpretativno zanimljivu izvedbu. Ten chapters of this diploma paper titled The Voice Recital include an overview of the voice recital program, biography and musical production of each composer, and a detailed formal-interpretive analysis of each individual piece in the recital from the soloist's, i.e. singer's standpoint. In addition to each of the analyses of a piece, the content and text of the composition in the original language are provided, along with a translation into Croatian for the pieces written in a foreign language. The paper includes biographies and works of the following composers: Antonio Vivaldi (Col piacer della mia fede), Johann Sebastian Bach (Seufzer, Tränen, Kummer, Not), Francesco Paolo Tosti (Ridonami la calma, La serenata), Josip Hatze (Suzi, Serenade), Stefano Donaudy (O del mio amato ben and Vaghissima sembianza), Giacomo Puccini (Quando m'en vo'), and Johann Strauß II (Mein Herr Marquis). The paper's final chapter draws the conclusion that a proper singing technique, familiarity with the physiology and musculature of the vocal apparatus, and knowledge of the composer's work are a prerequisite for a successful and interpretively engaging performance.

In this paper, I will focus on the reconstruction of the history of operetta companies established in interwar Belgrade. I gave priority to those ensembles that held regular performances for a longer period of time in the late 1920s and late 1930s. Aside from making a detailed overview of several more stable operetta theatres in Belgrade at the time, including their repertoire and leading artists, the attention will also be paid to uncovering the broader context of their work. The issues of state cultural policy and the rise of competitiveness inside the local spheres of culture and entertainment will also be discussed.

Композитор Славко Остерц (1895–1941), истакнути представник словеначке и југословенске музичке авангарде у међуратном периоду, оставио је значајан траг и као музички критичар у београдским часописима Звук и Музички гласник. У студији се анализирају његови погледи на музичку уметност и представља његова идеолошка позиција. Његове критике обележио је антиоперетски став када је реч о репертоару националних позоришних кућа, као и залагање за модерну и авангардну музику. Његову позицију одредило је и чврсто прихватање и заступање идеологије југословенства. У прилогу студије објављује се интегрална аналитичка библиографија Остерчевих написа у наведеним музичким часописима. Stana Ribnikar (= Đurić-Klajn), a Serbian musicologist and pianist, editor of the magazines Zvuk (Sound) (1932–1936) and Muzički glasnik (Musical Herald) (1938–1941), invited the Slovenian composer and music writer Slavko Osterc (1895–1941) to cooperation in the mentioned magazines. He published 45 different articles in them ‒ mainly music reviews. He reported on the musical life of Slovenia for the Belgrade magazines. In addition, he published essays on Slovenian and Serbian composers, a report on the international festival of contemporary music in Vienna, and several reviews of sheet music editions of Slovenian music. On one occasion, he also participated in a polemic. This study is devoted to the analysis of Osterc’s views on musical art. He was an opponent of operetta as an inappropriate stage type for the repertoire of the Ljubljana Opera, considering that operetta has no place in the repertoire of national theaters. Nevertheless, he appreciated the fact that operettas brought significant income to the theater and that thus the work on operas and ballets could be supported. Slavko Osterc separated musical work and performance. If a piece of music was properly prepared and performed superiorly, he always pointed it out, although the piece itself he did not particularly appreciate. Osterc was a supporter of the musical avant-garde, primarily Alois Hába and the Second Viennese School. He also wrote enthusiastically about the works of Sergei Prokofiev and Dmitri Shostakovich. However, he did not see the modernized national style as a desirable present and future of European and Yugoslav music. His idiosyncrasies came to the fore in his views on Western European music. He had no affinity for the music of Johannes Brahms, César Franck, and Richard Wagner. He thought that the sequence as a compositional tool was misused and thus created the appearance of an invention, so on several occasions, he wrote negatively about sequence as a structural element of a musical composition. The eccentricity of S. Osterc, which did not stand the test of time, comprised also the unfavorable writings about the music of F. Chopin, F. Mendelssohn, and E. Grieg. In the ideological sense, Slavko Osterc was a Slavophile and a follower of the Yugoslav ideology. He always gave priority to the Slavic repertoire, considering it the duty of Yugoslav opera houses and artists to perform even less representative works of Slavic authors. Although during the 1930s, the Yugoslav ideology was shaken by the state and political crisis, Osterc remained faithful to it until the end of his life.

Spring 2021 broadcast production of Offenbach's "Orphée aux enters" in English translation., https://digitalcommons.usu.edu/music_programs/1167/thumbnail.jpg

[ES] La opera y la zarzuela adquirió su máximo esplendor a partir de finales del siglo XIX, siendo el modo de representación teatral que copaba los diversos teatros que en aquel momento había en nuestro país. En la ciudad de Alzira, nace una mujer llamada, Maria Carmen Solves Vila, que revoluciona el mundo del teatro valenciano. Tanto fue su éxito que llegó a viajar por todo el mundo representando las mejores obras de ópera. Este trabajo cuenta como desde los años 30 hasta los 90, cuando llega a su inactividad prácticamente, Solves, llega a ser una de las mejores sopranos del mundo; llegando así a conocer a miles de personalidades. El proyecto llevará como culmen no solo la investigación de la mujer abriéndose paso frente a un panorama mayoritariamente masculino si no también la interpretación de todo ello en una exposición., [EN] Opera and zarzuela acquired their maximum splendor from the end of the 19th century, being the mode of theatrical representation that dominated the various theaters that at that time were in our country. In the city of Alzira, a woman named Maria Carmen Solves Vila was born, who revolutionized the world of Valencian theater. His success was so great that he traveled the world performing the best opera works. This work tells how from the 30s to the 90s, when it practically reached its inactivity, Solves, became one of the best sopranos in the world; thus getting to know thousands of personalities. The project will culminate not only in the investigation of women making their way to a predominantly male panorama, but also in the interpretation of all this in an exhibition.

Operet; konusu, orkestrasyonu, librettosu ve müziği açısından daha hafif, kısa ve sade sahne eserine verilen addır. Opera Bouffe ise 19. yy. Fransız bestecilerinden J. Offenbach’ın tasarladığı özel bir türdür. Bestecinin Güzel Helen Opereti opera bouffe tarzında yazılmıştır. Konusu, Troya Savaşı döngüsünün başlangıcında yer almaktadır. Tarih boyunca Helen karakteri, Halk Ozanı Homeros’tan, Sofist Gorgias’a kadar birçok anlatıma konu olmuştur. Mitolojide önemli bir yer taşıyan Paris’in Helen’i kaçırma efsanesi, Offenbach’ın bu yapıtında parodiye dönüşmektedir. Besteci bu yapıtında hem çağdaş toplumu hem de antik dönemi yermektedir. Akılda kalıcı melodileri, mizahi olmasının yanı sıra içerdiği sıra dışı lirizm, müzik ve libretto arasındaki uyum, besteciyi başarıya ulaştıran önemli unsurlardandır. Nitel araştırma yöntemi kullanılarak yapılan araştırmada eserin partitürü incelenmiştir. Sanat tarihi kaynakları taranmıştır. Eserde libretto ve müzik arasında kusursuz bir uyum olduğu, prozodi açısından titiz davranıldığı, orkestrasyonun öncelikli olarak sözlerin duyulmasına imkân vermesi üzerine inşa edilmiş olduğu sonuçlarına varılmıştır. Operetta; It is the name given to the lighter, shorter and simpler stage work in terms of the theme, orchestration, librettos and music. Opera Bouffe is a special kind which is designed by J. Offenbach, one of the 19th century French composers. The composer’s operetta “Beautiful Helen” was written in the style of Opera bouffe. The subject is at the beginning of the Trojan War cycle. Throughout history, the character of Helen has been the subject of many narratives from Homer to Sophist Gorgias. The myth of Paris’s abduction of Helen, which has great importance in mythology, is transformed into parodies in this work of Offenbach. In this work, the composer satirized both contemporary society and antiquity. Catchy tunes, humorous as well as extraordinary lyricism, the harmony between music and libretto are the factors that lead the composer to success. In the research conducted by qualitative research method, the partiture of the work is examined. Sources of art history have been researched. It was concluded that there was a perfect harmony between libretto and music, that he was treated meticulously in terms of prosody, and that the orchestration allowed him to hear the libretto first.

[Abstruct]I would like to conduct a questionnaire survey and to grasp the current situation and to extract future tasks so as to explore what the students learned in "music (vocal music)" and how to grasp the musical expressions in the childcare field., 著者主要担当科目：音楽(声楽), 劇あそび(指導法)

[Abstruct]Through our efforts, I decided to focus on how students perceived expressions in childcare, thoughts, and what they are getting. I would like to suggest from this research note improvement of future guidance., 著者主要担当科目：音楽(声楽), 劇あそび(指導法)

The purpose of the articleis to study the peculiarities of theatrical ballroom choreography in musical-dramatic plays in the context of genre specificity of productions; to analyze the stages of formation, development and establishment of choreographic productions as an integral part of onstage performance of theatrical plays, which contribute to the disclosure of the director’s vision of the work.The research methodologyconsisted in the method of theoretical modeling (to draw analogies between the genre-style principles of musical-dramatic performances and the specificity of theatrical ballroom choreography); the historical-comparative method (to define common and distinctive features in choreographic productions of theatrical ballroom choreography on the stages of musical drama theaters in the context of formation and development of theatrical art).The scientific novelty of theworklies in the attempt to consider the peculiarities of theatrical ballroom choreography in musical-dramatic plays as an integral part of onstage performance in the context of genre specificity of productions.Conclusions.Theatricalballroom choreography has been an integral part of onstage performance of musical-dramatic plays for many centuries, accompanying the dramatic performance, helping to uncover the idea of the play, characters and the psychology of actors, immersing the viewer in a corresponding era, emphasizing the time and setting, comic or dramatic implication, supporting the rhythm of the play, etc.

Branko Dragutinović (1903‒1971) authored one of the most extensive critical oeuvres in the history of Serbian music. He was engaged in music criticism for almost half a century, from 1924 until his death. In the Belgrade music magazine Zvuk (Sound) (1932‒1936), he published 58 music critiques and critical reviews. He observed the work of the Opera and Ballet of the National Theater in Belgrade, concert life, lectures on music, and he also wrote about films that included art music. He published a large number of reviews of foreign and domestic musicological and ethnomusicological books, music magazines, sheet music editions, ethnomusicological and ethnochoreological editions, etc. His articles in Zvuk reveal his views on the art of music. Dragutinović valued virtuosity only as a necessary basis for the unfettered expression of musical performers. His views on modern art reveal that he saw a modernized national style as one of the desirable options for contemporary Serbian art. Also, his affinities were on the side of musical neoclassicism. He did not accept Arnold Schönberg, finding that his compositions represented the ultimate rationalization of European music and could be interesting only as an experiment on the way to a new artistic expression. Under the influence of the ideology of integral Yugoslavism, Dragutinović used the phrase Yugoslav people. Sensitive to social processes and opportunities, he also showed attention to publications that spoke about the musical activities of workers’ associations. He was aware of the influence of social, political, and economic factors on the history of music. Nevertheless, he considered that the art of music was, in the first place, an autonomous aesthetic activity and value. That is why he opposed the reductionism of those Marxist music writers who overemphasized the external context of the art of music to the detriment of its aesthetic purpose and function.

Through the operetta activities at our university，we focused on how students perceived expressions in childcare，thought，and what they are getting. Continuing from this research note，we suggest improvement ofinstruction., 著者主要担当科目：音楽(声楽), 劇あそび(指導法)