The dissertation investigates the stylistic features of the sacred monody in the context of a comprehensive analysis of the formative principles of the singing medieval tradition. On the material of the songs of the cycle of the Flower Triodion of Ukrainian non-linear Irmologions of the end. XVI - beg. XVIII century the musical-poetic structural units of the form of the liturgical repertoire are analyzed. The sacred monody defines the longevity of the ancient poetic tradition, which manifested itself in the use of various musical and rhetorical models (figures and paths) in the structural organization of songs. The basic principles of formation of the sacred monody are constructed by musical-expressive means: intonation-melodic formulas, melodic inversions and "kratim", the placement of which depends on the content of the work. An analytical and comparative analysis of Greek and Ukrainian manuscripts was carried out on the example of the Easter stykhyry "Resurrection Day" and the troparion "Christ is Risen", which showed that the translation from the Greek original into Church Slavonic word for word. rhythmic organization and musical form, but the development of melodic movement in the works reveals a certain independence of individual fragments, based on the variant development of permanent motives. The dissertation analyzes the formative features of the selected repertoire of the four largest holidays of the Flower Triodine cycle according to the note linear Irmologions of the XVII century. In particular, the compositional and expressive functionality of the osmoglas is considered on the example of two stykhyrs of the holiday of Palm Sunday «Blissful day», «Six Days Before» from Irmologion 70 - 80 years of the XVII century (LNB ND 374). The melodic subordination to the osmoglas system and the connection of the melody with the theological content were revealed. A comprehensive analysis of the cyclical forms of Easter matins: the canon according to Irmologion 70 - 80 years of the XVII century (LNB, ND 374), as well as a cycle of 5 stykhyrs from the Lyubachiv Irmologion of 1674 (LIM, Ruk. 103). An analysis of the Easter canon revealed that the integrity of his drama is achieved through the synthesis of three components: musical, poetic and theological. On the example of the stykhyrs of Easter the regularity of musical and poetic components in close interaction is traced. The compositional structure of the five Easter stykhyrs is revealed: the internal structure of the first and fifth stykhyrs are based on the vertical symmetry of the form in the melody, while the second, third and fourth show horizontal, ie linear inversion. In the songs of the Feast of the Ascension of the Lord, in particular the stykhyr «The womb of the Lord», «Born You» and the exapostillary from the Lubachiv Irmologion of 1674 (LIM, Ruk. 103) it was found that the poetic 11 organization of the verbal text coincides with the musical structure of the melody. Melodic melodies support the semantic load of the text. Compositional and melodic-poetic analysis of the stykhyr «Come, people» and «The Lord of the heavens» of the feast of Pentecost from the Lubachiv Irmologion of 1674 was also carried out (LIM, Ruk. 103). It was found that in sticheras the compositional structure of works depends on the text. The practical significance of the obtained results of the dissertation is used in the curricula of secondary and higher educational institutions, in particular in the study of the history of Ukrainian music, musical palaeography, linguistics, liturgy, theology and the Church. The main provisions and results of the dissertation can also be used in the development of textbooks on the history of Ukrainian music and medieval studies; in educational and methodical practice, in lecture courses of liturgical singing. In the process of church and music practice, regents, deacons and choristers will be able to better master the features of the sacred monody and correctly interpret the genres of worship of the cycle of the Flower Triodine.
