«Живе» та медіаопосередковане музичне виконавство: порівняльний аналіз фортепіанної, вокальної та хорової інтерпретації

Nataliia Vitaliivna Ashykhmina; Viacheslav Yakovych Dashkovskyi

doi:10.24195/artstudies.2026-2.20

Authors

Nataliia Vitaliivna Ashykhmina State institution «South Ukrainian National Pedagogical University named after K. D. Ushynsky» https://orcid.org/0000-0001-8843-5217
Viacheslav Yakovych Dashkovskyi A.V. Nezhdanova Odesa National Academy of Music https://orcid.org/0000-0003-4905-9639

DOI:

https://doi.org/10.24195/artstudies.2026-2.20

Keywords:

«live» musical performance, media-mediated musical performance, piano interpretation, vocal interpretation, choral interpretation, ensemble performance.

Abstract

This article explores the transformation of «live» and media-mediated musical performance on the basis of piano, vocal, and choral interpretation. The aim of the study is to examine how musical interpretation changes under conditions of media-mediated performance and to conduct a comparative analysis of piano, vocal, and choral interpretation through the lens of the categories of “live” and media-mediated performance. The methodological framework is grounded in an interdisciplinary approach that combines art-historical, musicological, media-theoretical, and performative analysis, as well as conceptual-terminological, comparative, interpretive, and media-analytical methods. This perspective makes it possible to view performance simultaneously as an artistic act, a technologically mediated event, and a form of cultural presence. The study demonstrates that «live» performance cannot be reduced to the physical co-presence of performer and listener alone; rather, it has a spectral character and may be realized in in-person live, synchronous media-mediated, and asynchronous media-mediated formats. It is shown that media in the contemporary musical environment are not a neutral transmission channel, but an active factor in shaping the acoustic image, visual dramaturgy, the rhythm of reception, and the social organization of listening. In piano performance, the media environment intensifies the significance of sonic detail, registral balance, and controlled pedaling; in vocal performance, it foregrounds timbral proximity, the intimacy of expression, and the specifics of microphone-mediated sound; in choral performance, it most radically transforms the very principle of ensemble interaction, since latency, data transmission, and technical constraints complicate synchronous coordination and encourage asynchronous working models. At the same time, the article argues that digital formats do not eliminate interpretation, but rather shift it into another mode, in which the artistic outcome is formed through the interaction of the performer, the technical environment, and the mode of sound dissemination. The practical significance of the article lies in the applicability of its findings to performance pedagogy, remote rehearsal practices, concert-media design, and academic courses in musical art. Prospects for further research include the development of models of digital ensemble performance, criteria for evaluating media-mediated interpretation, and the study of new hybrid forms of musical presence in online environments

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