In this thesis, we have presented a complex research on performance essence of vocal art of the Ukrainian Diaspora of XX century in historical and cultural context. There were distinguished and substantiated the historical and cultural aspects that influenced this phenomenon, generalized the international and national cultural thought and art criticism scientific views on vocal art. We have defined the paradigm of its development from the end of XIX century till the beginning of XXI centuries as one of problematic vectors of vocal phenomenon comprehension in the cultural discourse. It has been proved that the complex surveys devoted to performance of the Ukrainian vocal art abroad are absent in modern art criticism and history of culture. We have done the terminology analysis of the categorical set of vocal performance that enabled to distinguish such concepts as "concert", "concert tour", "performance", "artistic performance", "creative activity", "performance essence of vocal art of the Ukrainian Diaspora", "concert activity". Also, we have specified the concept of "performance essence of vocal art of the Ukrainian Diaspora" as a complex sociocultural system. It consists of interrelated and interdependent types of activity where the key element is artistic-creative phenomenon of vocal art. In the center of performance essence of vocal art of the Ukrainian Diaspora as a complex sociocultural system stands the artistic, artistic-creative, performance activity of a singer (opera, concert, chamber concert, tour concert, contest and festival activity) whose forms provide for the existence of art as such. The structure of performance essence of vocal art of the Ukrainian Diaspora also consists of the educational and vocal pedagogic activity that makes possible formation of the singers. Its components are: acquisition and improvement of the system of vocal technical skills, development of musical intellectual qualities, training of psychological qualities, mastering of new works, formation of repertoire, experience sharing, education of followers and disciples, formation of own vocal school. We have proved that the theoretical statement and practical implementation of novel principles of singing teaching by O. Myshuha, M. Mentsynskyi, M. Skala-Starytskyi, I. Malaniuk and others promoted development of the Ukrainian as well as European vocal pedagogy; information-communication activity (communication with mass media; recording and distribution of records); cultural, educational, public activity; charity, patronage activity. Our research of performance dimension of the Ukrainian vocal art abroad has shown the integrity and continuity of all these types of sociocultural activity of singers that took place in the controversial and complex processes of the Ukrainian Diaspora formation.
