The methodology of the study is determined by its object, subject, goal and objectives: an interdisciplinary synthesis was applied, combining historical, sociological and cultural discourses within musicology with a postcolonial methodology for understanding the Russian-Soviet domination in Ukraine; a dialectical approach that brings proceduralism, stable/unstable sequences to the general scientific level, superimposing them on a morphological model of musical culture represented by various forms; a contextual approach to synthesize art historical facts, historical perspectives and data from cultural assessments of reality in understanding the determinants of music development in the context of cultural genesis; a systematic approach, which positions music culture as a complex subsystem that includes musical values and activities, the subjects of these activities with their competencies, institutions and social institutions as centers of music culture development. The practical significance of the study is determined by the possibility of using its materials and results in teaching cultural and musicological disciplines, for the preparation of textbooks and manuals, a special course on the history of Ukrainian music (and more broadly – artistic culture) of the 1930s-80s in higher education institutions of artistic orientation.
The Introduction substantiates the relevance of the chosen research topic, presents the purpose, objectives of the research, object and subject of the research, indicates the methods, scientific novelty and practical significance of the results obtained, provides information on the personal contribution of the applicant, testing of the results, publications, structure and scope of the work. Chapter 1, “Theoretical and Methodological Foundations of the Study”, reveals the state of scientific development of the problem, provides the source base of the study, and clarifies the conceptual and categorical apparatus of the historical and cultural study of the musical culture of Soviet Ukraine of the period in question. Chapter 2, “Ukrainian Symphonic and Choral Heritage in the Context of the Evolution of the Totalitarian Musical Culture of the USSR in the 30s and 40s of the XX century”, elucidates the specifics of Soviet totalitarian musical culture, examines genre and style transformations in Ukrainian music of the early Soviet period, and the Ukrainian symphonic and choral heritage in the context of the contradiction between the avant-garde and social realism. Chapter 3, “Cultural Processes in the Musical Space of Soviet Ukraine in the 1950s-80s,” describes the socio-political situation and cultural and historical context of Soviet musical culture in the 1950s 1980s, and analyzes the academic and non-academic directions of the Ukrainian underground in the musical culture of the USSR and the development of folklore intentions in the period from the Khrushchev Thaw to Gorbachev’s perestroika. The Conclusions summarize the results of the study.
