The dissertation examines the role of music in the processes of constructing the national identity of the Ukrainian cultural society of Eastern Galicia of the Habsburg era. There is a consideration of a decisive role of culture in the processes of Ukrainian national formation, and it is argued that in the absence of one's own state a person of culture can identify themselves with religion as culture. It has been proved that it was the musical component of church worship that was one of the main factors in raising the prestige of the Greek Catholic Church in the first third of the XIX century. It also gave Galician Ukrainians impetus to renew experience of own confessional identity, which gradually transformed into a national one. Particular attention is paid to the figure of Dmytro Bortnianskyi, whose spiritual creativity embodied Galician cultural and historical memory. At the same time, the thesis about the possibility of D. Bortnianskyi's connection with Galicia is substantiated, so the composer should be considered an ‘invented’ tradition of Galician culture. At the same time, it is noted that his spiritual works became popular due to the Galician's search for own national and cultural identity, especially in the field of church music. Analysis of the secular musical heritage of Galician composers of the first half of the XIX century found in their works signs of multiple identities. This gave grounds for exploring the problem of identity in Galician music through the prism of philosophical categories of the general, the particular and the singular. It is claimed that the embodiment of the category common to Galician and Ukrainian culture of the first half of the XIX century, was a Viennese identity instilled through state reform. It was determined that the most popular in that time Galician environment was the German secular song for the male choir, written in the tradition of Liedertafel. It is proved that the category of special in Galician music is represented by local Galician identity, which contributed to the formation of a ‘common’ musical culture for all the peoples of this region. Instead, national identity was viewed through the prism of the category of singular as the embodiment of its unique personality and originality. It is noted that the tradition of holding annual Shevchenko concerts in Lviv and other cities of Galicia, which became the basis for the formation of a unified space of national culture, contributed to the development of musical art on a national basis. Considerable attention was paid to the leading forms of national musical life in Galicia in the second half of the XIX - early XX centuries. One of the most important factors in constructing Ukrainian identity in the musical culture of Galicia in the second half of the XIX - early XX centuries was creative contacts between Galicia and representatives of sub-Russian Ukraine. The thesis about the importance of M. Lysenko's role in establishing the Galician and Dnieper cultural relations is substantiated. It is noted that the composer, in communication with the leading figures of the Galician national movement, raised a number of important questions concerning the development of Galician musical art on a national basis. It is noted that the achievements in the field of opera, the top manifestation of which were the operas of A. Vakhnyanyn and D. Sichynskyi, in which the composers tried to memorialize history, and also became complicit in the creation of a new national myth of Ukraine, in the second half of the XIX century are important for the Galician culture.
It is revealed that the crisis of Austrian imperial identity, as a specific feature of the Viennese fin-de-siècle, influenced the outlook of the composers, who began their activity in the first decades of the XX century, the composers of the Vienna and Prague School - S. Liudkevych and V. Barvinskyi made a huge breakthrough in the Galician musical consciousness of that time, demonstrating a high level of professionalism and modern thinking. They actively expanded the horizons of Galician music, destroying its traditional genre canons. Thanks to V. Barvinskyi, Ukrainian music in the uncharacteristic genres for it began to form a positive ‘image’ of its own culture for ‘other’ cultures. Therefore, the Ukrainian identity of Ludkevych and Barvinskyi is above all a modern identity, for which the sense of freedom and individuality of the artist are particularly important.
