The dissertation is devoted to substantiation and study of the specifics of ancient music, identification of different approaches to interpretation in the field of authentic performance. The work outlines the genesis of "authenticism" as a musical art of the last third of the 20th – early 21st century, has identified the ways of formation of genres of Baroque music, features of their construction, formulated methodological principles of studying the phenomenon of ancient music as a correlation of methods of "reconstruction" and "deconstruction", based on the analysis of historical scientific sources. The scientific novelty of the obtained results is connected with the introduction into scientific circulation of insufficiently researched in art history sources devoted to ancient music and ways of its performance; identifying the training strategy of musicians-performers, analysis of performance interpretations of famous soloists and ensembles, whose creative work is associated with the authentic performance of Baroque music.
This study uses a systematic approach to the study of ancient music, has built a holistic set of interconnected elements (which revealed: stages of development of historical performance, methods of analysis, the styles of Baroque composers, coordinates of dramatic integrity, comparative analysis of interpretations of academic and authentic soloists have been considered).
Since the question of studying the features of ancient music is relevant today, modern researchers continue to study the work of predecessors and put their vision into the formulation of the performing principles of "authenticism" (acoustics, instruments, tempo, ornamentation, dynamics, etc.). The methodological principles of studying the phenomenon of authentic performance are formulated; the attributes of the methods of "reconstruction" and "deconstruction" are explained – in relation to the reproduction of the historical interpretation of ancient music. Due to the correlation of the methods of "reconstruction" and "deconstruction", the historical image and meaning of the musical culture of the Renaissance and Baroque are reproduced. The uniqueness of each historical situation and the significance of the context of the epoch, in which the emergence of appropriate tools, canons of musical notation and performance take place, are determined.
The issues outlined and posed in the developments of researchers of the origins of the authentic movement, which continue to be actively studied and developed, are stated. At the beginning, "single" amateur soloists (early 20th century, in the circle of family and friends) became interested in the authentic performance of ancient music, later various instrumental ensembles appeared, and baroque vocal art gradually developed. The application of the method of "reconstruction" has led to thinking over the understanding and change of all means of expression: tempo, movement, instrumentation, touches and strokes – even the tasks and meaning of music as an art form. "Deconstruction" involves "shifting the focus" in identifying the role of details, which decipher the meaning of the composition. The use of this method by authenticism scholars clarifies the inaccuracy of many developments and conclusions about ancient music, helps the modern listener to improve their understanding of the relevant culture of the era.
Owing to the constant searches and discoveries of musicians-researchers and performers-authenticists, new various facets and meanings of the reproduced music of ancient composers are opened. The global significance of the role functions of instruments and the transformation of their acoustic and timbre-dynamic characteristics, which are used in the restoration of Baroque music, are determined.
