The thesis is the first scientific study of the musical culture of the Crimean Peninsula in Ukrainian musicology, taking into account its genetic nature. In order to understand the musical culture of Crimea in dialogical existention, attention is drawn to the problem of dialogue as a key category of philosophical knowledge. The philosophical approach, whose priority is the ethical component of dialogical coexistence in the discourse "I-the other", creates conditions for high-quality – complementary intercultural communication "West-East".
The ambivalent dialogic nature of cultural influences generated by both the West and the East has determined the peculiarity and uniqueness of the musical landscape of Crimea. And this landscape already in the second half of the XIX – first half of the XX centuries took its link in the pan-European оrientalist project.
Taking into account the geographically formed ways of crossing Eastern and Western influences on the Crimean Peninsula, in the context of a historical retrospective of orientalism as a phenomenon of European art, the dialogue between the West and the countries of the Middle East is focused. We are talking about impulses that came from Egypt, Babylon, ancient Judea, Syria, later – Elinized Greece, from the Arab Caliphate (Spain), as well as from Turkey. Observations of the West-East dialogic transformations that took place in the space of literary, visual and especially musical arts indicate a gradual convergence of both worlds.
The search for a genetically similar Crimea and at the same time an orientally representative culture actualized the concretization of the imagoposition of "Hispanisms" in the composer's work. Using the example of the Spanish orient’у, aspects of the contact dialogue are outlined: regional-geographical, in which cultural exchange is carried out with the participation of pilgrim artists who consciously become participants in cultural dialogue; remote information, which involves the transmission of information at a distance through intermediaries; genetic, which exists on a subconscious level and manifests itself at a certain point, controlling the creative act.
One of the main tasks of the study was to study and present the retransmission of Crimean оrient through professional musical creativity. For this purpose, first of all, the problem of reproducing the musical and historical process of the Crimea arose. The periodization of the musical and historical process of Crimea is primarily dictated by the layering of the main ethnic components that participated in the formation of the autochthonous Crimean Tatar ethnic group, which still remains a representative of the culture of the Crimean peninsula.
The identification of significant phenomena and creative figures that contributed to the development of the musical culture of the peninsula allows us to assert that the period of its highest flourishing was the era of the Crimean Middle Ages. Filled with a variety of artistic branches (religious music, creativity of poets-singers, musical-poetic creativity of the Crimean aristocracy, military music, household ceremonial musical creativity, music of theatrical performances), marked by the democracy of creative coexistence, this era was characterized by the dominance of the eastern vector of cultural development. It was this vector that later determined the place of Crimea in such a powerful European project as оrientalism, which took place already in the late XIX – early XX centuries. The impulses that at that time were coming from within the peninsula to meet European modernity with the participation of prominent Crimean figures (I. Gasprynsky, A. Refatov, Y. Sherfedinov and many others) were manifestations of dialogical existence immanent to the Crimean cultural space. On the other hand, the works of Russian composers (M. Mussorgsky, M. Hlinka, A. Hlazunov, N. Rymsky-Korsakov), ethnomusicological interests of Ukrainian artists (M. Lysenko, K. Kvitka, A. Konchevsky) – all this can be regarded as attempts to creatively understand the Crimean Tatar musical folklore.
Also, on the example of the works of A. Spendiarov and A. Karamanov, the paradigms of the genetic aspect of dialogicism "West-East" are highlighted.
The study also raises the issue of integration into the Ukrainian cultural context of the generation of Crimean composers, contemporary musicians, including: E. Emir, J. Karikov, M. Khalitova and others.
