Abstract:

The article analyzes the Lviv Vocal School as an artistic and educational phenomenon. The methodological basis of the scientific work is a combination of historical-biographical, cultural, systemic, art studies, and pedagogical approaches. The universality of the creative activity of prominent personalities of the Lviv Vocal School is revealed.

The diverse musical-performing and pedagogical activity of Professor Valerii Vysotskyi is highlighted. The features of his individual vocal school are outlined as the foundation for the formation of the Lviv Vocal School.

The significance of the aesthetics of the Italian vocal school as an important basis for the formation of Oleksandr Myshuha’s broad humanitarian worldview and bright creative individuality is substantiated. The musical-performing and pedagogical activity of the singer is highlighted in the context of international cultural relations. His pedagogical work at Mykola Lysenko’s Music and Drama School in Kyiv is revealed as an outstanding phenomenon of Ukrainian musical culture of the early twentieth century. The main provisions of Oleksandr Myshuha’s vocal pedagogy are presented, emphasizing the exceptional importance of his ideas regarding the formation of correct voice emission in the most favorable register for the singer, achieving freedom of sound, its flexibility, endurance, strength, and beauty. Oleksandr Myshuha’s pedagogical credo is highlighted, the essence of which was that any interpretation should be based on understanding the content, style, and form of musical works.

The exceptionally fruitful performing and pedagogical activity of the outstanding singer Solomiya Krushelnytska is traced as one of the highest achievements of Ukrainian and world musical culture of the late nineteenth and the first half of the twentieth century. The figure of the outstanding singer, her humanistic worldview, and creative pursuits receive scientific interpretation in the context of the leading trends in the development of society of that era and a wide range of connections with the traditions of Ukrainian and European culture.

The universality of the creative activity of the prominent representative of the Lviv Vocal School, Odarka Bandrivska, is revealed. The extraordinary richness of her many years of work is highlighted, which developed in three directions: musical-performing, pedagogical, and scientific-methodological. An analysis of O. Bandrivska’s scientific and methodological works is carried out.

Keywords: Lviv Vocal School, international cultural relations, V. Vysotskyi, O. Myshuha, S. Krushelnytska, O. Bandrivska, vocal art, educational paradigm.

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