For the first time in domestic musicology it is investigated piano creativity of the Ukrainian composers within context of development of musical culture of Ukraine 80-90-ths years of XX century. In the plan of culturological, art criticism, musical-theoretical approaches the modern conceptual judgement of Ukrainian piano repertoir of the given period is offered. Art criticism principles of the analysis have helped to come nearer to understanding national piano heritages 80-90-ths years of XX century from their external generalizing characteristics to revealing implied senses - internal attributes of "sacred" contents. In the analysis of implied senses of the piano pieces the dissertator sees sense and comprehension of process of understanding of Ukrainian piano creativity. In the dissertation the different techniques of the musicological analysis due to which it is possible to approach adequately to disclosing the contents of concerned pieces are used. Methods and approaches to traditional and nonconventional types of form-building, ways of the organization of a musical material, the phenomenon of harmony, structure, agogica, articulations, - all that helps to illustrate features of Ukrainian piano music are considered. The dissertator had been produced typology of paradigms of creativity on sense of their figurative-conceptual, genre-form-building and technical-stylistic expressiveness of forms. The figurative-conceptual paradigm of piano creativity of the examined period is submitted by conception of "games" in a wide range of its understanding, by meditative and penitential ideas, by reflective searches of own "Self", by propensity to idealization of images of the world, by deepening in age-old pages of a history of Ukrainian and West-European peoples, by tale's and "laughing" thematic. The genre-form-building paradigm was showed, on the one hand, in the experimental approach to a musical material, with another - in a reconstruction of the established forms, genre models, but with adding new techniques of compositions. The analysis of paradigmatic character of composition techniques ascertained existence and development of old constructive ways of expressiveness, and simultaneously occurrence new ones ("tape music", repetitive method (minimalism)). On the basis of the produced typology of paradigms of the piano creativity the developments and updating of an image of a piano in a national heritage are investigated. It is established, that in the Ukrainian culture of a specified period the image of a piano not only keeps the main features - chamber-romantic interpretation, frescos-orchestral treatment, a toccata-beat principle, impressionistic vision of the nature of the instrument, but also is supplemented with new aspects. A national image of piano soundings as essential quality of national mentality, was enriched with an embodiment of the psychological-reflective world which range reaches from excited expression, epatage, even absurdity up to meditative prostrations sacred-spiritual and minimalistic origins. Such search of not ordinary forms of expression in creativity of domestic composers becomes not end in itself, and submits to idea of creation of new music "philosophy" and it is considered aesthetic credo of the modern art in general. It is marked, that in aspect of composer's creativity Ukrainian the piano culture of 80-90-ths years of XX century represents qualitatively new historical stage of development in which the new system of the valuable orientations is formed, the new understanding of an image of the piano, the new aspects of an embodiment of national art-creative mentality.
