The little-developed problem in the domestic science is analyzed in the dissertation . The tendencies of the development of the ukrainian violin music in the 60 - 80th years of the XXth century are considered for the first time. According to the original sources and musical scientific materials the character of the academic violin art is covered in the context of the development of the musical life in the Ukraine. The methodological positions of the representatives of the Ukrainian violin school (O. Verba, N. Dyka, V. Zarans'kyj, N. Semenyak, I. Tukova etc.) is analysed. The ways of the formation of the national versions of the genre, which was begun by V.Коsеnkо and continued by M.Skoryk, O. Kozarenko, V. Bibik, E. Stankovych and by other composers, are characterized. In this connection the features of the technique of violin performance and the experience of the Ukrainian violin school are analyzed. In the work the innovation aspects of art - style changes in the violin art of the Ukraine and their specifical attributesare are defined. The period of the 60 - 70th years in the development of the violin school of performance is the period of the experiments in the field of the musical expressiveness. The combination of the folklore elements with the sonorica, the application of modern structures this time are marked. The violin art of the 80th years was tested by the appreciable influence of the vanguard aesthetics as the personofication of aesthetic-philosophical positions of the spirit of the time. The domination of vanguard thinking (L. Grabovskij, E. Stankovich, M. Skoryk, V. Sylvestrov etc.) as the component of the musical culture of the 80th years is characteristic by the orientation to the innovation and rejection of traditions. The formation of the vanguard ideas is connected to the refusal from the positivism in the musical aesthetics and in general of the realism in the art. The vector of the musical creativity is inverted to the phenomenon of subconsciousness, of the search of the sharp individual, personal characteristics of the images, to what the radical updating in the sphere of musical-expressive means, transformation of the musical-semiotic fabric are connected. The system of the expressive means of the Ukrainian musical vanguard aesthetics shows the specificity of the radical innovations of the postmodern stylistics. Near to the neoromantic, neoclassic samples of the composer technique the neouniversal stylistics acts in particular appreciable. It has received the name "of a new stylistic wave". This stylistic tendency has connected the traditional and innovative art outlook, archaic folklore motives and the ritual melody and texts with sharp harmonies, volumetric spatial invoice, sonoristic timbrelity etc. Aesthetic and technical "openness" of the new stylistics has given an opportunity individually to approach to synthesis of the "old and new", to develop the aesthetic matrix of the semiotic systems through author's language inversion (L. Grabovsrij, E. Stankovich, M. Skoryk, V. Sylvedtrov etc.). The interpretation skill as one of the powerful of the new aspects of art - style changes in the violin performance represents the form of the performance creativity, which is individually directed accordingly of creative method of the musician. The interpretation is characteristic for the all stages of the existence of the music work: perception, performance, and also the creation of the musical product. Author's (composer) work also concerns to the area of the musical interpretation, as represents the special way of the understanding, interpretation and intonational comprehension of the text, directed, first of all, on the creation of the qualitatively new product.
