Piano cycles by Roman Tsis: stylistic and expressive aspects

  • Mariia Mykhailivna Gerega Candidate of Art Criticism (PhD), Professor, Lviv National Music Academy named after Mykola Lysenko, Lviv (Ukraine)
Keywords: didactic repertoire, piano prelude, small cycle, interpretive tasks, sound creation aspects.


The task of this article is to consider the genre specifics of the cycle of
preludes and a small cycle of program pieces, the interconnection of traditions and innovative searches in the field of creating an executive-
didactic repertoire for pianists on the example of the author's collection of Roman Tsis. The methodology of the research is to use theoretical and
structural-system methods in the analysis of sources and samples of the
didactic repertoire of different authors; comparative - in the study of the features of the individual author's style as the basis for mastering technical
and sound creation tasks. The scientific novelty lies in the fact that for the
first time the author analyzes the interconnection of traditions and innovative
searches in the field of creating an executive-didactic repertoire for pianists
in the class of general and specialized piano in the genre system of a cycle of
programmatic preludes and small cycles with the help of contemporary
composer creativity. R. Tsis's piano cycles have a significant didactic
potential from the standpoint of understanding interpretative tasks in terms of
different stylistics, genre varieties, principles of texture organization,
composing techniques and sounding aspects. With a rather modest technical
arsenal and small scale compositions, they reproduce a variety of formative
techniques and principles of melodic development. Due to the presence of
small cycles and the monogamous suite of preludes, it is possible to simulate
the selection of the repertoire depending on the tastes, preferences and
interpretive-didactic needs of a particular representative of the class of
general and specialized piano. This approach allows individually to form the
most appropriate set of works that would gradually build and develop the
aesthetic and performing-interpretive potential of the student, his ability to
solve artistic tasks and overcome technical difficulties. The key to success is
to engage in a multi-role and multi-genre repertoire with the ability to
separate individual thumbnails or, conversely, simulate suites-cyclic


1. Barvinskyi, V. O. (1988) Tvory dlia fortepiano [Works for piano] /
uporiad. S. S. Pavlyshyn = Proyzvedenyia dlia fortepyano / komp. V.
Barvynskyi / sost. S. S. Pavlyshyn : muzychni tvory, instrumentalni. K. :
Muzychna Ukraina.
2. Berkovych, I. (1965) 24 preliudii dlia fortepiano: Tv. 46. [24 preludes
for piano: op. 46] K.: Mystetstvo.
3. Bondarenko, O. M. (2017) Tokata v ukrainskomu fortepiannomu
mystetstvi: heneza ta shliakhy transformatsii zhanru [Tokta in the Ukrainian
piano art: the genesis and ways of transformation of the genre]: dys. ... kand.
mystetstvoznavstva : 17.00.03. Kharkiv. nats. un-t mystetstv
im. I. P. Kotliarevskoho. Kharkiv.
4. Kireieva, V. H., Lohvynenko N. I. (2012) Suchasni tendentsii
ukrainskoho fortepiannoho repertuaru [Modern trends of the Ukrainian piano
repertoire] / Nauka. Relihiia. Suspilstvo. 1, 92-96.
5. Mylych, B. (1961) Fortepianna literatura ukrainskykh radianskykh
kompozytoriv dlia ditei ta yunatstva. [Pianist literature of Ukrainian Soviet
composers for children and youth] K.: Derzh. vyd. obr. myst. I muz. lit. URSR.
6. Novytska, O. V. (2010). Deiaki osoblyvosti vykladannia dystsypliny

«zahalne fortepiano» u vyshchykh navchalnykh zakladakh: psykholoho-
pedahohichnyi aspekt. [Some peculiarities of teaching "general piano"

discipline in higher educational institutions: a psychological and pedagogical
aspect.] / Problemy zahalnoi ta pedahohichnoi psykholohii : Zbirnyk
naukovykh prats instytutu psykholohii im. H. S. Kostiuka NAPNU. XII, 6,
7. Novosiadla, I. Natsionalna ideia yak osnovnyi chynnyk formuvannia
fortepiannoho pedahohichnoho repertuaru dlia ditei u muzychnomu mystetstvi
ukrainskoho zarubizhzhia II polovyny KhKh st. [National idea as the main
factor in the formation of a piano pedagogical repertoire for children in the
musical art of Ukrainian foreign countries of the second half of the twentieth
century] URL :
8. Oliinyk, O. (1979) Ukrainska radianska fortepianna muzyka dlia ditei.
[Ukrainian Soviet Piano Music for Children] K.: Nauk. dumka.
9. Savraiuk, Yu. (2016) Tvory dlia fortepiano. Piesy. Preliudii. [Works for
piano. Рiecesю Preludes] Lutsk: Teren.
10. Filts, B. (2004). Vydy i zhanry ukrainskoi muzyky dlia ditei [Types and
genres of Ukrainian music for children] / Ukrainske mystetstvoznavstvo:
materialy, doslidzhennia, retsenzii. 5, 105–109. (NAN Ukrainy, Instytut
mystetstvoznavstva, Folklorystyky ta etnolohii im. M.T.Rylskoho).
11. Yuziuk, Z. (2010) Fortepianni zbirnyky dlia ditei ta yunatstva v
tvorchosti pedahohiv-pianistiv Ukrainy ta ukrainskoho zarubizhzhia druhoi
polovyny KhKh st. [Piano collections for children and young people in the
works of piano pedagogues of Ukraine and Ukrainian foreign countries of the
second half of the twentieth century] / Molod i rynok. 5, 87–92. URL:
How to Cite
Gerega, M. M. (2019). Piano cycles by Roman Tsis: stylistic and expressive aspects. Scientific Collections of the Lviv National Music Academy Named After MV Lysenko, (44), 103-114. Retrieved from https://muzuniversum.com/index.php/journal/article/view/34
Panorama of music research and interpretation