The dissertation covers the life and creative path of Jeanne Demessieux; distinguishes the stylistic features of Jeanne's creative method, determines her place in the history of European organ music as a representative of the French organ tradition. The main subject of the work are the genre and stylistic features of organ works of Jeanne Demessieux. The chronological boundaries of the study are determined, on the one hand, by the spatiotemporal context of J. Demessieux's life and works, which took place in the first half and the middle of the XX century, and, on the other hand, by understanding J. Demessieux's "stylistic place" in the history of music, which is possible only in regard to the French organ music traditions, which have been being formed over a long historical period. The material of the research was musical texts of organ works by Jeanne Demessieux, and audio and video recordings of them being performed. The work includes the cycle «Seven meditations on the Holy Spirit» («Sept méditations sur le Saint Esprit»), the cycle «12 choral preludes to Gregorian chants» («Douze Choral Préludes sur des thèmes grégoriens»), «Te Deum» op.11, cycle «Six Etudes» op.5. The methodological basis of the work is its problematic areas, and includes historical approach and theoretical modeling; provides a combination of genre and style, textual, hermeneutic, and semiological perspectives on the assessment of musical phenomena. The process of formation and historical evolution of French organ music from the first half of the XVII to the middle of the XX century are studied in this work. In this regard this work highlights the life and creative path of Jeanne Demessieux, as well as her creative heritage in the composing and performing spheres is characterized. This work reveals originality of the interpretation of the organ cycle in the work of J. Demessieux («Sept méditations sur le Saint Esprit», op.6); the leading compositional and dramatic principles of J. Demessieux's cycles («12 Choral Preludes to Gregorian Chants», op.8, «Sept méditations sur le Saint Esprit», op.6, «Six Etudes», op. 5); the essence of the phenomenon of stylistic harmony in the organ cycle of J. Demessieux («12 choral preludes to Gregorian chants» op.8); the method of Jeanne Demessieux's work with the Gregorian chant in the organ composition «Te Deum», op.11, and in the organ cycle «12 choral preludes to Gregorian chants», op.8. The attention is paid to interesting textural findings and techniques shown in the cycle «Six Etudes», op.5, which significantly expanded the scope for the organists to improve their performing skills. The study of the peculiarities of the individual style of Jeanne Demessieux allows to detect the importance of the reciprocality between programness and poemness, as well as modernization of the stylistic harmony phenomenon when creating a «genre image of the author» in her organ compositions.
