The purpose of the dissertation is to reveal the character of the stylistic trends of the Transcarpathian music composition based on works of Transcarpathian composers. It is emphasized that in such a multiethnic region of modern Ukraine as Transcarpathia (with Ukrainian, Hungarian, Slovak, Czech, Romanian and German inhabiting or having inhabited the region) the professional tradition of music composition began to form quite late, in the 1940s; since the Transcarpathian region alternately was a part of the neighboring countries which leveled the "ethno-national form of identity" of the Transcarpathian culture. However, powerful "awakening" and "enlightenment" movements incessantly revived the forms of the ethnic identity and caused its transformation into a form of a national identity as a guarantee of entering the club of an "identity of the different", as a part of the world artistic culture. It has been established that the professionalization of the musical composition in Transcarpathia took place primarily in the sphere of compositions for piano: it provided an opportunity for an active approbation of stylistic invariants of the classical and modern musical traditions and their synthesis with the folklore fund of Transcarpathia in the spirit of Post-Romanticism and Modern / Secession. Moreover, the greatest effort was made in the sphere of the primary musical education: among its first founders was Sigmund Lendyel, who himself wrote piano compositions for his music school in order to stylize the ethnically characteristic abundance of the folk traditions of the region and introduce the academic norms of musical thinking. Noteworthy are the educational efforts of the next generations of Transcarpathian composers (Desiderius Zador, Emil Kobulei), who received professional education in prestigious institutions of music education (Budapest, Prague), and enriched the didactic potential of the piano material with examples of assimilation of the academic music with the folklore heritage of the Transcarpathian region. Soon these same founders of the Transcarpathian professional compositional tradition acquired their followers; for example, Istvan Marton.
The experience of studying the piano works of Transcarpathian composers has also been studied: it has been established that priority was given to the biographical and morphological approaches; that is, without taking into account the latest analytical algorithms and conceptual semantic values of the fundamental categories of modern systematic musicology. In this regard, the study of specific musical works of Transcarpathian composers took into account the aspects of intonation modeling, structural principles, dramatic relationships of concept segments and worldview specifics of the stylistic "image" of the author. Accordingly, conclusions have been made regarding the actualization of a certain stylistic invariant and its implementation. It is emphasized that the general "image" of the piano works of Transcarpathian composers has inherent communicative receptive (generative) aspects of Ukrainian musical modernism in the role of regionally characteristic artistic and stylistic model with its own cultural parameters – in order to comprehend the ethno-national identity. In such circumstances the spirit of assimilation is quite natural – a conscious assimilation with historically known but mentally different image systems. A special emphasis is placed on the process of macroindividuation as the basis for such a style-shaping model, when the systemic organization of musical resources outgrows the ethnic borders, which is ckarly seen in the didactic works of the mid-20th century. After "post-romantic" and "modern" visions, intentions of a purely modernist character became important (István Márton, Mykola Popenko, Volodymyr Volontyr, Viktor Telychko, Natalia Marchenkova, Anatoliy Zatin, Roman Medentsi, Vasyl Tsanko). The leading role was played by the idea of "global cultural synthesis" and reinterpretation of the cultural memory: these are conscious stylizations of the history based on the so-called "allusive" development with a certain "pole of stylistic attraction". In its turn, the post-modern intentions in the version of the so-called "eidetic" style have acquired a special stylistic significance – based on a certain original semantic image, on the basis of which a certain reality is perceived.
The conclusion is that for the stylistic trends of piano music by Transcarpathian composers characteristic is adaptation of the European academic experience, not only by the "hasty catch-up", but also by "movement in advance", when in addition to the increasingly obvious academization of style there was also a mixed build-up of stylistic initiatives.
