An anthropocentric research principle of spiritual and musical creativity as an embodiment of the author’s deep personal dialogue with Almighty God and with all humanity is used in the thesis. From this perspective, a number of spiritual works of Ukrainian artists from the 18th to the early 21st centuries were considered, in which the features of the creative individuality of composers, determined by a set of factors, were discovered. An important aspect of the study is the interaction between the word and music at various intonation levels, in different genre conditions as well as taking into account the key dramaturgic role of a fideistic dialogue. Different typologies of personality and the most commonly used diagnostic methods of personality properties are used in the thesis – studying of documents about a person, an observation, a conversation, an interview, testing and a synthesis method – the analysis of creative activity products. The main attention is paid to the spiritual creativity of the native composers of the classicism epoch. The signs of individuality in the spiritual creations of M. Berezovsky and S. Dehtiariov are highlighted in the thesis. The leading objective and subjective factors of the formation of creative personality of A. Vedel is made. The peculiarities of the musical interpretation of psalmist texts in the spiritual concerts by A. Vedel are revealed. Considering the specifics of the interaction between word and music and also the course of psychological processes, embodied in the intonation dramaturgy of concerts by A. Vedel and S. Dehtiariev, the method, which specifies the author’s attribution of works, is proposed. In the context of church singing national traditions and leading trends in the development of Ukrainian musical art, the features of creative individuality in the spiritual works of composers of the 19th – early 20th centuries (M. Verbytsky, M. Lysenko, M. Verykivsky, L. Dychko, Ye. Stankovych, V. Sylvestrov, M. Skoryk) were emphasized. Some works by V. Sylvestrov, V. Stepurko, S. Ostrova are analyzed in the context of one of the notable signs of contemporary Ukrainian music art – the dialogue between the centuries, which manifests itself in the multifaceted application to certain genre and stylistic sources, historical figures, events, etc.
