The leading problem area of research that determines its topic is the scientific and theoretical definition of the phenomenon of Chamberness in the context of the historical development of musical art and chamber instrumental and ensemble genres with a key starting thesis of historical aesthetic, spatial and acoustic, artistic and organologic universality of Chamberness. The category of Chamberness is explored as a semantic structure formed by a complex artistic and communicative set "author – work – performer – ensemble – acoustic space – listener", actions of which contributes to the increase of meanings with the unquestionable right to the primacy of semantic authorial content and artistic performing reproduction. Structural and semantic components of Chamberness in the semantic hierarchy are regarded as: the semantic intentions of the work, which acti-vate the intellectual potential of the performers, forming an "existential mix" of the content; creative interaction of small warehouses of performers who carry out per-sonal and psychological, technological, artistic interpretation of the author's text, forming a "thesaurus performing continuum"; listening openness and psychological readiness for "immersion" into the deep philosophical layers of the author's concep-tion in various historical and aesthetic conditions of performing evocation; timbral and instrumental compositions that are selected by historical musical and performing practice for reproduction of artistic and semantic principles of Chamberness and can-onized in chamber and instrumental compositions by composers of various styles; a stylistic system that embraces several structural layers of the composition (related to the genre, form, language, musical material, context of existence and processes of perception) and combines genre types of the chamber ensemble in the works of vari-ous authors, various national schools and historical epochs. As a result of the study of chamber-ensemble creativity and the selection and development of scientific and theoretical approaches to the phenomenon of chamber instrumental-ensemble performance (in its specific ensemble varieties) it becomes possible to determine the sequence of concepts, which until now did not have a special terminological status and have not yet found an appropriate subject-discursive place in the field of musicological research: the category of chamber; semantics of repetition of author's dedication to chamber-ensemble works; the notion of performing instrumental-ensemble dynamotope. To the vocational-terminological circulation introduced microstructural dynamic and articulation instrumental-ensemble indicators: the general-interpretative dynamics, personal-instrumental dynamics, inter-instrumental dynamics, acoustic-spatial dynamics, instrumental-performing articulation, inter-instrumental articulation, interpretive-artistic articulation, adapted articulation. The ensemble-performing articulatory system of musical pronunciation techniques on instruments with different sound production methods has been developed. Specific means of sound formation on string-string, string-pinch, copper / wood wind instruments and keyboards are systematized. The timbre-figurative and mimetic characteristics of the instruments of the chamber ensemble were generalized. The concept that has received further development are chamber-ensemble instrumentalism, the system of chamber-ensemble genres, and the mensencenic typology of chamber instrumental-ensemble genre varieties; artistic differentiation of the ensemble's texture; timbral-instrumental mimesis; Performing-instrumental theatricalization.
