This study examines selected choral arrangements of Ukrainian folk songs by the Bukovinian composer Olena Chmut, which occupy a prominent place in her creative output. It is emphasized that the stylistic features of these arrangements were shaped within the traditions of the Kyiv compositional school, serving as a foundation for the academic genesis of Chmut’s work. The influence of contemporary trends in chamber choral performance of the 1990s, particularly the activities of conductor Larysa Bukhonska, on the development of Chmut’s individual style is highlighted. The study identifies the main genre and stylistic characteristics of Chmut’s arrangements, including the integration of folk intonations with classical choral traditions and contemporary harmonic language. A detailed analysis is provided of two representative works—“Oy, ty misiatsiu” and “Oy, na hori dva dubochky”—with regard to harmonic language, polyphonic techniques, dramaturgical and formal principles, and thematic development. Special attention is given to the interaction between melody, poetic text, and expressive musical means, which create an organic unity in Chmut’s scores. These works are shown to possess emotional and psychological depth as well as a distinctive compositional style. The composer demonstrates a refined sense of the vocal nature of choral sound, a rich harmonic palette, use of chordal verticals in jazz style, textural flexibility, and masterful application of polyphonic elements. It is concluded that the analyzed choral compositions are vivid examples of contemporary Ukrainian music, in which the folk song foundation, romantic expressiveness, modern harmonic exploration, and profound artistic reflection are harmoniously combined.

Abstract British music historians and writers during the mid- to late 20th century not only credited countertenor Alfred Deller with the voice type’s re-emergence in modern performances, but equally identified his voice as specifically English and as historic. This article investigates how and to what purposes such claims were made by charting the reception of Deller’s voice and career through press reviews, promotional literature and broadcasts on the BBC. By understanding the purported authenticities that underpin assertions about the historicity of the countertenor voice, I demonstrate how Deller embodied references to an idealized past associated primarily with the English choral tradition and the composer Henry Purcell, placing his success in the context of key musical events of the 20th century, including the early-music revival and the so-called ‘English musical renaissance’.

The purpose of the study was to identify the features of the development of sacred music genres in Ukraine and Europe in the historical perspective and determine the areas of their interaction. The research was based on the use of a historical and comparative method, which allowed tracing the evolution of genre forms in different historical periods, and structural and functional analysis aimed at identifying common features and differences in the musical tradition. The method of stylistic analysis was used for the analysis of musical works, which determined the key features of harmonic, fret, and performance specifics of Ukrainian and European sacred music. It was found that the medieval spiritual music of Ukraine and Europe had common features, in particular, a monodic character, a textocentric melodic structure, and neume notation. Differences related to the liturgical tradition, language basis, and performance features were identified. During the period of classicism, there was a significant mutual influence between Ukrainian and European spiritual music: the European tradition is represented by masses, requiems, and motets, while Ukraine was dominated by the genre of spiritual concerto, which developed under the influence of Western European polyphonic techniques. In the 21st century, the expansion of interaction between Ukrainian and European sacred music was established, which was manifested in the integration of Orthodox choral traditions into European sacred music and the borrowing of neoclassical and minimalistic techniques by Ukrainian composers.

The purpose of the study is to understand choral art as an important element of the cultural brand of Ukraine in the context of historical traditions, modern transformations and development prospects in the context of globalisation, and choral culture as a factor of national identity, determining its role in the international cultural space and as a tool of cultural diplomacy. Research methodology. The work uses a systematic approach that combines art history and historical and cultural analysis, branding theories and a comparative method. Narratives about Ukrainian choral art in the media and at international festivals are analysed, empirical material from cultural events of recent years is involved. Scientific novelty. For the first time, choral art is considered not only as an artistic practice, but as a systemic component of the cultural brand of Ukraine. The connection between the aesthetic features of the choral tradition (polyphony, lyricism, deep spirituality) and the associative perception of Ukraine in the world is substantiated. The principles of integrating choral heritage into the strategy of cultural policy and communication of the state are proposed. Conclusions. Choral art is one of the deepest and most enduring manifestations of Ukrainian musical culture, which, despite the challenges of time, retains a high level of artistic perfection and authenticity. An analysis of the historical and contemporary aspects of the development of the choral tradition allows us to assert that it acts not only as a form of musical self-expression, but also as a marker of national identity, a carrier of collective memory and spiritual values of the Ukrainian people. In the modern digitalised and informationised world, where a new logic of cultural communication is being formed, choral art is able to play an important role in creating and promoting a positive cultural image of Ukraine. Its wealth lies primarily in stylistic diversity, deep emotionality, masterful polyphonic sounding and the ability to reflect both historical and contemporary narratives. It is these characteristics that make it a potentially powerful tool in the field of cultural diplomacy and the formation of ‘soft power’. Against this background, the need for state support for choral groups, the creation of special programmes to promote Ukrainian choral art abroad, the formation of a holistic cultural policy, where the choir is considered not only an artistic, but also a strategic cultural resource, becomes particularly relevant. First of all, we are talking about the need to combine tradition with innovation: the inclusion of modern multimedia formats, digital communication, and a branded cultural product to present Ukrainian choral heritage at the global level.

The relevance of the topic is determined by the need to preserve cultural identity in the context of globalization, the importance of music for the development of emotional intelligence, social skills, and aesthetic perception in children. The aim of the study was to identify the impact of choral singing on the development of a child’s personality, particularly in the formation of collective consciousness, social integration, and the preservation of cultural traditions. To analyse the development of choral art in Kosovo and its impact on children, historical-chronological, socio-cultural approaches, and surveys were used. These methods allowed the exploration of the evolution of choral tradition, its role in shaping national identity, and the emotional intelligence of children. The results of the study showed that choral singing has a positive impact on children’s development. Most participants (85%) noted that they enjoy participating in the choir, and 78% said it helps them make new friends. Teachers (90%) emphasized that choral singing develops communication skills, discipline, and forms national consciousness. 75% of children believe that the choir helps them better understand other cultures, confirming the role of music as a tool for intercultural dialogue. Innovative methods, such as interactive exercises, multimedia use, creative approaches to the repertoire, and interdisciplinary integration, make the learning process more effective and interesting. The conclusions of the study confirmed that choral singing is an important pedagogical tool that contributes to the formation of a child’s personality, the development of their social, emotional, and cultural skills.

Statement of the problem. The cultural and stylistic landscape of choral singing is characterized by several paths of its revitalization: the neo-folklore movement, historically informed performance, and Nova Musica Sacra. In this context, the regional component stands out as a marker of national choral style and prevents the unique voice of a given people (homo cantor) from being «absorbed» by globalization. Choral regionalism is part of the creative practice of the 20th century, which constitutes a historically completed system; however, due to the continuity of performance as an ongoing process, this system remains open-ended.This topic is relevant because the unique role of choral regionalism in studying the revival of choral art in the context of cultural globalization has not been sufficiently substantiated. Resent research and publications. Choral regionalism is an under-researched subject in contemporary choral studies and is only beginning to gain momentum at the methodological level. This article draws on recent studies by I. Bermes (2022), N. Belik-Zolotaryova (2024), L. Serhanyuk (2015), O. Zaverukha (2019), and N. Shepelenko (2024), as well as on research by foreign scholars such as A. Coghlan (2015) and E. Lars (1983). Objectives, methods, and novelty of the research. The purpose of the study is to determine the general features of regional choral art using the example of two works from different national schools – Ukrainian and Latvian – that nevertheless share similar developmental characteristics in creative practice. The research material consists of representative choral works from Ukraine and Latvia: Borys Lyatoshynsky’s arrangement of the Ukrainian folk song “Oy u poli try krynychenk”» and Ēriks Ešenvalds’s choral pieces “Stars” and “O Salutaris Hostia”. The research methodology integrates contemporary approaches to analyzing choral singing. General approaches (historical, systemic, functional-structural) are combined with genre-stylistic, performance, and choral studies perspectives. Together, these methods direct the researcher’s attention to the specifics of choral art as an audible, «living» text. The novelty of the study lies in revealing the unique intonational and genre-stylistic features of works by Ukrainian and Latvian composers in the context of choral regionalism. Research results and conclusion. The article highlights the role of Borys Lyatoshynsky, who was the first among Ukraine’s professional composers in the first half of the 20th century to extensively use imitative polyphony in choral composition as a classical method of intellectualizing art. The identified intonational and genre-specific characteristics of his choral arrangement of the Ukrainian folk song “Oy u poli try krynychenky”, as well as of Ēriks Ešenvalds’s pieces “Stars” and”«O Salutaris Hostia”, accentuate the regional distinctiveness of the art of the homo cantor against the backdrop of global cultural trends. A comparison of the choral traditions of the two regional schools – Ukrainian and Baltic – revealed both a commonality of purpose under conditions of political oppression and a kinship in artistic processes. Differences are evident at the linguistic and stylistic level and are determined by the mentality shaped by each folk tradition (enriched through dialogue with the Other, in E. Livinas’s terms), by the aesthetic values of the national language and literature, and by distinct worldview and religious meanings.

Choir schools in the UK are educational institutions that, alongside standard education provision, train young choristers to provide music for an attached religious institution, usually a cathedral. Mostly fee-paying and known to be socioeconomically exclusive, up to now they have received almost no attention in the sociological literature. Through interviews with 22 former choristers, and developing the sociology of Pierre Bourdieu, we explore the interrelation of class and family in producing dispositions and tastes making entry to a choir school possible. More specifically, we show how immersion within a certain field of intimate relations, where particular class-based tastes and interests were taken for granted and laced with affect, (re)produces not only a class habitus but a habitus specifically inclined toward the Anglican choral tradition. That does not mean, however, that reproduction is necessarily smooth and harmonious, as one case in particular shows.

The subject of this study is the art of choral conducting as one of the most relevant aspects of contemporary musical culture in China. The object of the research is the examination of the creative and pedagogical methods employed by the faculty of the Moscow Conservatory with Chinese students who are choral conductors. The aim of this article is to explore the pathways of forming the profession of choral conductor in China and to determine the role of the Moscow Conservatory in this process. The author examines various aspects of the topic, such as the cultural interaction between the USSR and the PRC in the 20th and 21st centuries, tracing the history of the influence of Russia’s largest music institution on the establishment of a choral conducting school in China. A number of key figures among Soviet and Russian musicians who made significant contributions to this process are identified. The author notes that choral education in Russia is characterized by philosophical-aesthetic depth, semantic concentration, and technical sophistication. The methodology consists of a synthesis of historical-theoretical and choral studies methods. Based on this, the history of training Chinese students at the Moscow Conservatory is revealed. Special attention is given to the independent performing and pedagogical activities of prominent choral conductors in China. The research experience aims to establish connections between the Russian school of choral conducting and the development of contemporary Chinese choral art. The main conclusion of the conducted research is the paradigm of profound mutual influence and enrichment in the musical arts of Russia and China. In particular, this position has become a determining factor in the musical education of Chinese students at the Moscow Conservatory. A significant contribution of the author to the topic is the study of the current state of the educational process for students from China in the choral conducting department at the Moscow Conservatory, which has not previously been the object of special research. The novelty of the study lies in the fact that it presents materials on the education of currently prominent choral figures in China: Wu Lingfeng, Yan Liankun, Cao Tongyi, Wang Chao. Attention is drawn to the need to study the historical aspects of the establishment of the national school of choral conducting in China, linked to the traditional musical thinking of China and the shift towards the assimilation of the Russian conducting and choral tradition.

The subject of this study is an important stage in the professional development of the outstanding Chinese conductor Wu Linfeng, associated with his internship at the Moscow State Conservatory named after P.I. Tchaikovsky in 1986-1987. The object of the research is to examine the influence of Russian and Soviet choral culture on the formation of the Chinese school of choral conducting. The goal of this article is to explore the pathways of the choral conductor profession development in China and to determine the role of the Moscow Conservatory in this process. The author discusses various aspects of the topic, such as the cultural interaction between the USSR and the PRC in the 20th and 21st centuries, tracing the history of the influence of Russia's largest music institution on the establishment of the choral conducting school in China. A number of key figures among Soviet and Russian musicians who contributed significantly to this process are identified. The author notes that choral conducting education in Russia is characterized by philosophical and aesthetic depth, semantic concentration, and technical proficiency. The choral conducting school of the Moscow Conservatory has a profound influence on the formation of the national conducting art in contemporary China, thereby highlighting the vital intercultural connections between the two countries that are important in our time. The methodology consists of a synthesis of historical-theoretical and verbal-communicative methods. Based on archival materials, the history of Wu Linfeng's education at the Moscow Conservatory is revealed. The research experience is aimed at establishing connections between the Russian school of choral conducting and the development of modern Chinese choral art. The main conclusion of the conducted research is the paradigm of deep mutual influence and enrichment in the musical arts of Russia and China. In particular, this position has become a determining factor in the musical education of Chinese students at the Moscow Conservatory. A special contribution of the author to the topic is the study of the professional development of Wu Linfeng, which has not previously been the subject of special research. The novelty of the research lies in the fact that archival materials about the education of the now prominent choral figure in China, Wu Linfeng, at the Moscow Conservatory are presented for the first time. Attention is drawn to the need to study the historical aspects of the establishment of the national school of choral conducting in China, related to the traditional Chinese musical thinking and the shift towards mastering the Russian conducting and choral tradition.

The choral movement in Sfântu Gheorghe has a long and distinguished history, spanning from its early beginnings in the 19th century to the modern day. This article explores the development of the town's musical traditions, highlighting key ensembles, conductors, and events that shaped the cultural landscape. The article delves into the contributions of groups such as the LAUDATE Choir, the Reformed Choir, and the Vox Humana Chamber Choir, as well as examining the socio-cultural and religious contexts that fostered this rich choral tradition. Concluding with insights into contemporary initiatives, this article offers a comprehensive account of the enduring legacy and ongoing vitality of the choral art form in Sfantu Gheorghe.

Based on the analysis of scientific literature and sources, life and creative work of Yakiv Kalishevsky, a famous Ukrainian conductor, whose influence on the quality and level of the Ukrainian choral art at the turn of XIX–XX century, in particular, choral sound-formation standards, was extremely significant, is considered in the article. Regency was fundamentally important in his activity. St. Sophia Cathedral, the ancient residence of Kyiv Metropolitans, was among the key centres for cultivation of the original liturgical singing style in the city of Kyiv. In terms of its performance level, the choir of St. Sophia Cathedral competed even with powerful choirs of the Kyiv-Pechersk Lavra. The highest level of performance has been achieved when the choir was led by Yakiv Kalishevsky – from 1886 to 1920. His achievements were largely preconditioned by cultivating a special singing style intended for the highest level of professional training of both adults and children. Liturgical singing performance standard created by Ya. Kalishevsky consisted in the synthesis of timbral (nucleus) concentrated sound with elements of Italian bel canto in the sound reproduction of the whole choir. Particularly, in applying his professional skills and knowledge as a solo vocalist, Myroslaw Antonowycz, the Ukrainian musicologist and conductor of the Byzantine Choir, continues the line of Kalishevsky, for whom the individual voice placement was of paramount importance. The performing choral style, which was implemented by Ya. Kalishevsky and which combined an individual approach to the placement of voices and stylistic principles of the Kyiv-Pechersk Lavra tradition, has successfully found embodiment and further development in the choirs of Dmytro Kotko, Oleksandr Koshyts and Myroslaw Antonowycz, evidencing the continuity of the historical experience of vocal and choral performance practice.

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ABSTRACT The paper analyzes stylistic contrasts in the song “You Can’t Always Get What You Want,” comparing linguistic and musicological features of the performances by the London Bach Choir and the Rolling Stones. The contrast between British and American accents is examined from the language-ideological standpoint, advancing the thesis that the use of varieties may index social values to indicate new stylization patterns, as emphasized by the third wave of sociolinguistics. Moreover, stylistic musical patterns are analyzed, i.e. British rhythm and blues versus conservative choral tradition. They highlight the above-mentioned linguistic contrasts and form a coherent whole of a novel character.

The purpose of the research is to highlight the processes of introducing the principles of European instrumental music in the choral works of Ukrainian composers of the second half of the 18th century. The following research methods are used in the work: analysis, comparison, and synthesis. The research uncovered the following: features of the choral concerto as a genre; stages of its design and development in Ukraine; structure of choral concerts; the nature of the reflection of the principles of classicism in the works of Ukrainian composers; the embodiment of the features of the sonata form and cyclic structure inherent in the works of the Viennese classics in Ukrainian choral music (on the example of works by M. Berezovsky and D. Bortnyansky); aspects of the influence of national (folk-song) sources and ancient choral traditions on the genre of the sacred concert in the works of Ukrainian composers.

ABSTRACT In the first half of the twentieth century a vast transformation in Hungarian school music education occurred. The ideological foundations of music pedagogical reforms and the means of their implementation were laid down by Zoltán Kodály. The music pedagogical model of Kodály’s concept strongly linked the Central European life reform movement and pedagogical reform trends of the early twentieth century. Kodály’s pedagogy emphasised the concept of developing the individual throughout his or her entire lifespan, nature appreciation, folk music, community engagement, and the transformative power of the arts. Kodály believed in the profound impact of choral singing on individuals and communities. László Lukin (1926–2004), an outstanding music educator of the twentieth century, significantly impacted Hungarian choral life. He remained a consistent presence in professional publications until his death. This study focuses on showcasing his writings on choral pedagogy in the music trade press and how Lukin incorporated and modified Kodály’s guidance on choral singing. The results reveal that Kodály’s key principles in choral pedagogy are also evident in Lukin’s articles. Lukin aimed to fulfil the musical reform ideals of the early century by realising the “education of the whole person” through singing communities and musical experiences.

The article explores three key aspects essential to the development of contemporary choir conductors within the context of the evolving national choral school in Ukraine, particularly focusing on the Odesa choral school. The study underscores the significance of integrating traditional and modern educational practices to foster the professional growth of choir conductors. The first aspect examined is the creative development of a conductor through educational integration and an interdisciplinary approach in professional training. This includes the application of a wide array of educational tools that enhance the creative abilities of young conductors by bridging various disciplines within music education. Emphasis is placed on the need for comprehensive training that encompasses theoretical knowledge, practical skills, and artistic creativity, ensuring a well-rounded professional education. The second aspect discussed is the vocal training of choir performers, which includes practical, stylistic, and physiological components. The practical aspect involves the incorporation of vocal techniques into the training program, focusing on the development of fundamental skills such as intonation accuracy, rhythmical precision, and clear articulation. Stylistically, the study notes the expansion of the choral sound palette, influenced by contemporary trends and the inclusion of diverse musical genres. Physiological training is highlighted as crucial, considering the varied vocal demands placed on choir singers by modern repertoires. The third aspect focuses on the challenges young choir conductors face in mastering modern musical language, particularly the melodic and rhythmic diversity found in contemporary choral works. The article emphasizes the necessity for methodological revisions in teaching approaches to better equip conductors with the skills required to navigate these complexities. This involves an analysis of contemporary music theory and practical application in choral settings, fostering a deeper understanding and mastery of modern compositions. The article concludes by asserting the importance of balancing innovative educational methods with the preservation of traditional choral school practices. This synergy is essential for developing a new generation of choir conductors capable of meeting contemporary artistic demands while upholding the rich heritage of choral traditions. The interaction of these aspects facilitates the formation of a versatile and adaptive choir conductor, prepared to contribute to the progress of modern choral art.

Learn how the socioeconomic backgrounds of Anglican choristers are evolving to meet demands for equality. Through interviews with music directors, this paper explores the challenges and adjustments in recruitment, balancing opportunities, and maintaining the spiritual role of music in services. Discover how the tradition adapts to 21st-century beliefs and cultural shifts.

Analyzes the musical material used for worship in Orthodox churches in China. The author considers the conservative tendency, which is followed by Nina Starostina, and the renewal tendency, which is worked on by Nikolay Lebedev. The specifics of N. Starostina's work on new vowels, based on the well-known Chinese songs and means of musical expression, used by the composer in her compositions on canonical liturgical texts are outlined.The article compares the interpretation of substantive aspects of the canonical osmoglavya by Archpriest Boris Nikolaev and the tunes underlying the "Chinese Glas" by Nina Borisovna Starostina, a Moscow composer and researcher of guqin playing who has lived in China and is deeply familiar with the musical culture of China. The emphasis is placed on the means of musical expression peculiar to Chinese musical poetics used in Nina Starostina's works on canonical liturgical texts, as well as on the traditional stylistics of the works of Nikolai Lebedev, an adherent of the Holy Trinity Masterpieces school. It is hypothetically suggested that there is a great difference between these "extremes," but that these are two cardinally opposite paths, outlined today, that the choral tradition in China might follow.As a result, the following varieties of chants are identified in Chinese Orthodox churches: retexts of traditional vowels and chants of later origin (Greek, Yaroslavl, etc.) without modification; retexts of traditional vowels and chants of later origin adapted because of the difference in phonetics of the Chinese and Slavonic languages, and in order to bring them closer to the angelic ones. The following are some of the chants that can be heard in Chinese Orthodox churches: retexts of traditional vowels and chants of later origin, adapted to suit the phonetics of the Chinese and Slavonic languages and to bring them closer to the angemite pentatonic keys of China; new chants composed in the Chinese style to canonical liturgical texts and chants composed in the tradition of Rask spiritual music, and also taken from chant books that are widely available in Orthodox parishes.

The purpose of the article is to identify the leading trends in the activity of one of the oldest professional creative teams – the H. Maiboroda National Honoured Bandura Choir of Ukraine in the context of the development of academic folk vocal and instrumental art. The research methodology is determined by general philosophical, dialectical and historical principles, systematic and comparative approaches, as well as special musicological methods for the study of bandura instruments, concert and touring activities, repertoire formation trends, and personological aspects of musical creativity. The scientific novelty of the article is a systematic analysis of the creative activity of the H. Maiboroda National Honoured Bandura Choir through the prism of academicisation of folk vocal and instrumental art, development of ensemble bandura performance, selection and optimisation of bandura instruments, formation of repertoire principles, contribution of leading directors and conductors of the band to its professional formation, cooperation with composers and soloists, and the thematic principle in organising concert and touring programmes. Conclusions. The H. Maiboroda National Honoured Bandura Choir of Ukraine is a unique collective with a rich history, accumulation and synthesis of both folk music traditions – kobzarism and academic choral traditions. More than a century of the choir's functioning has become an expression of the cultural peculiarities of the time periods of bandura creativity and performance: at the level of improving the instrumentation, involving other folk and academic instruments in banduras, selecting male voices, choosing the texture of choral singing and instrumental playing, genre and thematic directions of the repertoire, collaborating with soloists and conductors, and a wide geography of concert and touring activities. The priority directions of the repertoire of the choir are folklore samples in a cappella and vocal-instrumental representation and composer's elaboration, original works and arrangements of Ukrainian and foreign composers, covering historical, Cossack, lyrical, humorous, riflemen's songs, Shevchenko's songs, UPA songs, and modern patriotic works.
 Keywords: bandura art, folk vocal and instrumental art, collective folk and instrumental art, bandura ensemble, bandura chapel, academisation, repertoire, composers' works, concert activity.

The relevance of the research. The musical work of the well-known Ukrainian composer, a bright representative of the Kharkiv school of composers — Yurii Alzhniev — is widely known and respected in the modern musical culture of Ukraine. The artist is the author of a large number of large-scale and small-scale works for symphony and chamber orchestras, orchestra and ensemble of folk instruments, a significant number of choral, vocal, vocal-symphonic works, theatre music, separate compositions for various instruments and instrumental ensembles, etc. Today, the most significant samples of Yurii Alzhniev’s works are deservedly within the scope of scientific and research attention of domestic musicologists. After all, these works are now increasingly being performed by leading Ukrainian groups and soloists, on concert stages in various regions of Ukraine and abroad. At the same time, many bright musical compositions of the artist, which were created by him in recent years and represent a high artistic value, remain out of research attention. One of such opuses in Yurii Alzhniev’s creative portfolio is the choral concert “The sound of the Master’s soul...” for a mixed unaccompanied choir, in which national features of Ukrainian traditional choral singing and original author’s decisions regarding the organization of the compositional structure and stylistic filling of the work are skilfully and highly artistically interwoven. The purpose of this article is to identify the compositional and genre-stylistic features of Yuri Alzhnev’s choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through a musico-logical analysis of this work. At the heart of the methodology of the work are the methods and techniques of musicological analysis used in theoretical musicology. In particular, this is a method of complex analysis, which is used in the implementation of a holistic analysis of a selected piece of music, as well as separate theoretical methods: genre and style analysis, analysis of musical form, intonation analysis, analysis of elements of musical language. In addition, systematic and system-forming methods, the method of comparative analysis, methods of systematization, synthesis, and generalization are involved in the work methodology. The results obtained in the course of achieving the goals in this article are focused on revealing the compositional and genre-stylistic features of the choral concert “The sound of the Master’s soul...” for a mixed a capella choir, through the musicological analysis of this work. The novelty of the work lies in the fact that the choral work of the famous Ukrainian composer Yuriy Alzhnev in recent years has found its musicological interpretation for the first time in the form of his choral concert “The soul calls for an owner...” The genre-stylistic and compositional specifics of this work are defined, the authorial approaches to the realization of this composition in the outlined aspects are summarized. The practical significance of the performed musicological analysis of the selected work lies in the possibility of using it in the study of the musical work of modern Ukrainian composers, disciplines related to musical composition and choral art, as well as a musicological supplement to the use of this music in concert performance practice. Conclusions. Turning to the creation of his choral concert “The soul calls for an owner...” Yurii Alzhniev chose this genre typical for choral music, relying mostly on a complex of traditional means and canons. At the same time, he created a rather interesting and individualized musical drama in this work, in which he skilfully used and expanded the possibilities of a simple verse form, integrating features of the three-part and rondo forms into it. In terms of style, the composer, once again, significantly enriches the relatively traditional musical presentation of the concert, “decorating” it with intonation freshness, interesting textural and compositional solutions, “spiciness” of harmonic language, etc. At the same time, the intonation basis of the work radiates its deep national character and belonging to the Ukrainian choral tradition. This is the essence of the authorial musical and linguistic specificity and the originality of Yurii Alzhniev’s choral style, which was deeply and vividly manifested in the choral concert “The soul calls for an owner...”.