project, held annually in the city of Lviv, is
focused on experimental musical performance.
Therefore, a significant part of the music festival
repertoire is written in the avant-garde style. At
the same time, the musical project “Contrasts”
contains a certain epochal dialogue, the essence
of which lies in the combination of classical and
modern musical premieres (Gilstrap, Teggart,
Cabodi & Hill, 2021).
Turning to the peculiarities of the Two Days and
Two Nights of New Music festival, it is
necessary to note the uniqueness and uniqueness
of its format of organization. In particular, we are
talking about its uninterrupted duration of two
days, as well as the unique core plot of each
cultural event, around which a number of festival
events are concentrated. In fact, the musical
project “Two Days and Two Nights of New
Music” is a combination of all the modern trends
in the field of art, including the prevalence of
installations, performances, multimedia events,
the establishment of new connections with other
cultural forms (experimental theater, synthesis of
arts, etc.). The New Music Festival presents
works of the classical avant-garde, postmodern in
different forms: traditional concerts, theatrical
performances, now and then changing accents
towards opera or instrumental genres. The
festival produces a new intercultural product, the
main message of which is a mutual performance
of musical works (Ukrainian composers by
foreign musicians, and foreign composers by
Ukrainian performers). It is the reproduction of a
new type of intercultural dialogue not only
between performers but between performers and
the audience as well (Choi & Lee, 2019). The
music project stands for synthesis of forms,
expressions, means of art, clearly reproducing
contemporary trends in the artistic sphere.
Finally, the trends of contemporary musical art
described in the previous chapters also find their
manifestation in the holding of the “Dreamland”
festival. The specificity of this cultural project is
in close contact with the folk ethnic tradition.
Thanks to such interaction, we can talk about the
actualization of the issue of Ukrainian national
identity. The combination of musical art and folk
crafts gives a new format to the cultural
formation and educational paradigm. Thus, the
musical project “Dreamland” provides a
comprehensive dialogue with the Ukrainian
heritage and contributes to the popularization of
the national code of Ukrainians.
As you can see, Ukrainian culture is full of bright
examples of musical projects, which potentially
contain tendencies of modern art. The synthesis
of form and meaning formation becomes the
impetus for the re-creation of new cultural
practices, which, on its part, indicates the
development and improvement of cultural
heritage (Oliva & Colombo, 2021). Based on the
above and in confirmation of the relevance of the
study of musical projects during the years of
Ukraine's independence, let us turn to the related
scientific works in the chosen topic. First of all,
it is advisable to consider samples of research by
Ukrainian authors, including the scientific article
by Berezhnyk (2019), dedicated to the analysis of
one of the largest music festivals in Eastern
Europe “Atlas Weekend”. The purpose of his
research work the author chose to identify the
specifics of Ukrainian polygenre festivals and to
create information for the popularization of these
musical projects in Europe. In particular,
Berezhnyk (2019) noted that the latest Ukrainian
scientific research in the field of musical art
focuses mainly on the analysis of classical music
and does not pay attention to other aspects of the
organization of such events. We can argue that
this opinion contradicts the results of the research
study because it was found that the Ukrainian
classical festivals are focused on the combination
of modern innovations and classical traditions,
resulting in a growing variability of both the
musical form and the musical product as a whole.
Finally, Berezhnyk (2019) gave an exhaustive
analysis of the achievements of the Atlas
Weekend music festival, describing the current
problems of the creative sphere. At the same
time, in the process of the scientific study of the
problem of modern music projects, it is important
to refer to the related works of foreign authors.
For example, Mohd Ariffin & Mohamed Jamel
(2021) considered the problematic material
aspects of conducting festivals on the ground. In
particular, their work raised the issue of
providing housing for visitors to the Rainforest
World Music Festival. As a result of their
empirical study, the scholars concluded that the
alignment of material and intellectual resources
is extremely important when organizing a music
project (Mohd Ariffin & Mohamed Jamel, 2021).
For their part, researchers Alonso-Vazquez &
Ballico (2021) focused on the relationship
between conducting the current eight Australian
folk and world music festivals and combating
current environmental issues. Specifically, they
found that the COVID-19 pandemic radically
impacted outdoor festivals by limiting access to
socially accumulated venues and reducing travel.
Nevertheless, music projects have significant
potential for pro-environmental education and
the promotion of contemporary environmental
issues through music. In addition, the field of
music festivals raises another contemporary issue