comprehend the holistic perception of not only
the musical work itself, but also the conditions of
its existence. The main merits of Yavorsky's
theory include the analysis of the structure of
patterns, the internal pattern organization of
musical work and the musical-historical process,
as well as in making analogies in the
development of various types of art. This context
was hidden from the eyes of his contemporaries
and appreciated only a decade later.
The scientific fate of Yavorsky was complex and
dramatic, mainly due to his constant occupation
with the duties of a civil servant responsible for
the formation of a new educational paradigm in
the USSR, and he managed to publicize only a
small part of his legacy, namely: "The structure
of musical speech" (parts 1–3, 1908), "Exercises
in the formation of melodic rhythm" (part 1,
1915), "Structure of melody" (1929) (Yavorsky,
2008). The most important results were recorded
in his oral lecturing, teaching and epistolary
activities (his correspondence with composers
contained meaningful educational tasks and was
in fact an extramural consultation), a few articles
and teaching aids, manuscripts (the archive of
Yavorsky is kept in the funds of the Hlinka
museum) and is mostly reflected in the studies of
his students and followers. He influenced the
creativity of Asafiev B., Bagadurov V.,
Blumenfeld F., Braudo I., Glier R. (who has
friendly and professional relations with
Yavorsky from 1892 to 1942), Gnesin M.,
Zernov D., Konen V., Kulakovsky L., Kurt E.,
Mesian O., Miaskovsky M. (their professional
correspondence lasted for 27 years), Neihaus G.,
Protopopov C., Shostakovich D., Yudina M., as
well as music theorists and composers of the
following generations: Goriukhina N.,
Zaderatsky V., Zolochevsky V., Kotliarevsky I.,.
Korykhalova N, Liashenko G., Maslenkova L.,
Medushevsky V., Moskalenko V., Nazaikinsky
E., Orlova O., Protopopov V., Piaskovskyi I.,
Skoryk M., Sokol O., Kholopov Yu., etc.
(Yavorsky, 2008).
Note that the basics of Yavorsky's theory, in
particular, his ethnological results, were used in
the construction of the concept of the education
of a solo singer regarding the significance of the
"energy of musical formation" for the harmonic
nature of musical art (Antonyuk, 2001). His
works such as "Psychological study-
characteristics of the behavior and facial
expressions of a singer under moral oppression
and under energetic passion" (1901), "About a
folk song" (1917), "Breathing" (1924), "Singing
and singers" (1932) , "Chamber Singing" (1935)
recorded the main principles of works as a
pianist-concertmaster of vocalists (1895–1898)
in the professor's of the Kyiv Music School
Kamillo Everardi and developed in the process of
independent performing practice (Yavorsky,
2008).
Note that Yavorsky, along with the following
terms introduced into musicology: "intonation",
"internal auditory tuning", "rhythmic edge",
"synergy", "comparison of tonalities", "theory of
musical thinking", etc., also invented the
classification of singing styles into "chamber-
miniature", "chamber-stand", "fresco-concert"
and "opera-decorative" (Yavorsky, 2008).
B. Yavorskyi's productive activity as a
concertmaster with Ukrainian singers became an
important basis for his scientific results, defining
the vocal paradigm as dominant in the artist's
compositional and performing work.
First, the name of Yavorsky is associated with the
concept of lad (the term means the unfolding of
the chord in time), which had a great influence on
the further development of musicology: "this is
what the conservatory calls the science of
"musical thinking", which I am working on"
(Yavorsky, 2008). The law of auditory
gravitation discovered by Yavorsky became the
basis of his hypothesis, which later grew into a
theory of musical thinking with its features in
relation to different eras. Starting with the study
of "biological foundations of behavior – from the
energy of its types and connections, he took the
principles of studying the role of the joint action
of auditory and visual world perception as one of
the starting points of his theory long before the
discovery of analyzers by physiologists and the
formation of the science of "musical
psychology"" (Antonyuk, 2021). Yavorsky's
restoration of the hidden content of Bach's
masterpiece – 48 preludes and fugues "HTK",
which actually turned out to be a musical
interpretation of the images of the Old and New
Testaments, their predictions and prophecies, the
Life of Christ, etc., was also sensational.
Methodology
The research methodology is rooted in the
theoretical framework of national artistic culture,
encompassing various dimensions such as the
systematic approach to understanding culture-
creating professional and pedagogical
phenomena, phenomenological aspects of
creativity theory, epistemology of culture,
structural typology, personality theory, and
migration theory. This comprehensive approach
forms the methodological foundation for the
study, offering a robust framework for