Definition Of Genre Research Articles

ЖАНРОВОЕ И СТИЛИСТИЧЕСКОЕ СВОЕБРАЗИЕ ЭКОЛОГИЧЕСКОЙ ПУБЛИЦИСТИКИ КЫРГЫЗСТАНА

The article discusses the features of the genres of environmental journalism in the aspect of the global problems of understanding the interaction of man and nature. In the modern period of the development of multimedia technologies and convergent journalism, journalism genres are experiencing “reboots”, therefore, the definition of genre identity and the further implementation of such an important topic as ecology in journalistic materials seems relevant.Journalism is constantly transforming, reflecting changes in society. Understanding her contemporary experience is one of the tasks of the methodology of the creative process. Journalism synthesizes theoretical research methods and ways of artistic reflection of reality. This synthesis process is especially evident in the way typification and individualization are carried out in society in terms of the development of environmental consciousness. In this regard, journalism and journalism are able to establish and develop environmental communication, the basis of which is the real relationship between man and nature, as well as the reflection of social reality, public opinion on informational issues related to environmental (environmental) issues.The journalism activism of Kyrgyzstan has a large-scale experience of reflecting environmental issues, which is associated with a value and cultural orientation, the foundations of which are laid in the socio-cultural traditions of the Kyrgyz people and are most vividly embodied in the work of the great Chingiz Aitmatov. This article attempts to typify the main genres and forms of journalism, reflecting environmental issues. The study allows us to conclude that at the present stage, definitions of journalism genres require transformation in the aspect of both purely national and general cultural issues. The practical significance lies in the inclusion in the list of basic disciplines of journalism faculties of the special course "Genres of Contemporary Environmental Journalism", which will make the learning process more substantive, relevant and relevant in the practice of modern media

As relações entre horror e racismo no filme Corra!

O artigo discute como o filme Corra!, de Jordan Peele, apresenta experiências sensíveis do horror e do racismo nas sociedades contemporâneas. O conceito de horror é entendido a partir de Eugene Thacker (2011 e 2015) para quem a fruição com o gênero se dá no ato de pensar sobre um mundo impensável, não-humano e desconhecido. Considerado o outro na sociedade Ocidental, a condição de ser negro, categoria criada durante o processo de escravização e colonização para a desumanização dos africanos (GILROY, 2007), atende a essa definição do gênero. O ser negro causa horror em quem ignora a condição humana, ao mesmo tempo em que é afetado em sua humanidade pelo racismo. O texto promove o encontro de duas pesquisas que investigam as características das possíveis experiências estéticas do horror na contemporaneidade: pensando o fenômeno para além do medo (ACKER, 2018) com a que propõe uma crítica ao racismo estrutural a partir do midiático (CAMPOS, 2018).

Three piano pieces of Liudmila Shukailo in the context of genre paradigm

Three piano pieces of Liudmila Shukailo in the context of genre paradigm

ON THE GENRE PARTICULARITY OF MARIA STEPANOVA`S BOOK “IN MEMORY OF MEMORY OR POST-MEMORY”

“In Memory of Memory or Post-Memory” is one of those non-fiction works that rely on various documents combined with fiction. It raises a complex of problems, and the author’s position is expressed by the plot of his search for the solutions, without claims of categorical conclusions. Hence, there are disputes about the genre of M. Stepanova’s book, and different versions. Having reviewed them, and being in agreement with Sergey Orobiy’s conclusion that “In Memory of Memory or Post-Memory” is a metanovel, the author of this article aims to show that this is a work of a completely different type which requires precise qualification of its genre definition. The article shows that a peculiar construal of the plot and the mechanism of creation of the “In Memory of Memory” is given in M. Stepanova’s text itself in a system of mirrors giving a reflection of her pondering her trade, and of those authors who had already had similar books (Sh. Salmon, R. Goldchain, V. Zebald et al). By introducing into the text hundreds of names and pieces of factual data, using the experience of ready-made texts and oral history records, M. Stepanova relies on a through motif of personal and family memory, and its isomorph motif of the memory of a national catastrophe. They serve both for their organic connection, and for the contrasting connections of pieces of reality varying in their optics and scale. And they also serve for transformations of all those numerous reminiscences and allusions M. Stepanova uses to depict the main messages and meanings of the entire novel. The plot lines of reconstructed histories of friends and relatives are interconnected among themselves, and with the material of documentary and literary sources with the help of different editing tools. The principle of editorial construction of the text facilitates the showing of contrast and inevitable conflict of different simultaneous events, of coincidental connections between different facts, and metaphorical portrayal of a catastrophe and disintegration of the conscience of the person and the world. In M. Stepanova’s work, personal documents, such as letters and diaries, in combination with official documents, as well as fictional documents, fantasy and improvisation serve as the main material for comprehension and description of the facts of reality. And, importantly, the author submits to reflection the factual materials presented to the reader, the manner and the algorithm of their presentation in the text, and the author herself as the creator of the text in front of the reader’s eyes. All that lets us conclude that the genre of “The Memory of Memory” is an auto-documentary meta-novel.

В. Шендерович. «Соло на флейте»: к проблеме определения жанра (между злой сатирой и литературной фугой)

В. Шендерович. «Соло на флейте»: к проблеме определения жанра (между злой сатирой и литературной фугой)

Work Is Beautiful: A New Cinema Genre?

Work Is Beautiful: A New Cinema Genre? Jonathan Buchsbaum (bio) The Process Genre: Cinema and the Aesthetic of Labor. By Salomé Aguilera Skvirsky. Duke University Press, 2020. 336 pages. $28.94 paperback, $104.95 cloth. In The Process Genre, Salomé Aguilera Skvirsky identifies a new genre of film “whose processual character has gone largely unremarked” (6). Though the book concentrates primarily on cinema, Skvirsky considers the transmedial aspects of the genre and traces printed precursors to the mid-fifteenth century, leading her to date the genre to the beginning of modernity. While “process” may sound like a neutral term, Skvirsky mounts a meticulous, carefully reasoned, and riveting polemic that argues that the process film is really about celebrating the centrality of work to human activity, a “basic embrace of the existential, as well as the material, value of labor to human life” (47). For Skvirsky, the genre has become even more compelling and more visible now that industrial labor is giving way to a digital world produced by immaterial labor, “the eclipse of the machine age and dawn of the digital age” (95). The genre has two essential features. First, it shows “a sequentially ordered series of steps with a clearly identifiable beginning, middle, and end” (2). Second, the genre “produces in the spectator a singular wonder and deep satisfaction” (2). Skvirsky writes [End Page 385] clearly, with authority (richly documented in the notes), across a broad range of subjects, including philosophy, psychology, anthropology, narrative, and genre theory. She cites Tom Gunning’s remarks on ciné-genre as her model, heeding his call to reduce the prominence of character-driven narrative and thematic markers in genre definition in favor of medium-specific formal features coupled with attendant spectator response. Skvirsky finds the sequential ordering of the process genre particularly apt for cinema, as the medium itself unfolds in time, unlike written predecessors: “one might think that processual representation is the formal correlate, the expression, of an industrial way of organizing labor, just as some have argued that the camera and projection apparatuses are technological correlates of industrial production” (130). The first chapter tries to position process films in relation to other film categories. Think of the configuration in terms of Venn diagrams. Some process films can be found within various other familiar groupings: industrial films, educational films, and ethno-graphic films. But process films do not conform fully to the criteria of any of them; industrial films are normally sponsored, but processual industrial films may not be sponsored. The most important category, because of its often normative views of culture, is the ethnographic film. The carving and installation of an ice window in Robert Flaherty’s ethnographic film Nanook of the North may exemplify the two defining features of processual representation and wonder, but Skvirsky ultimately brings her own normative judgment to the assessment of the films. In the introduction, she relies on the words of another scholar for substantiation of spectator response to the Flaherty film: “As the ice window slides into position, we have a moment of elation at this ingenuity” (29); in Chapter 4, however, she claims that “for Flaherty development is a calamity” (181). The film, then, qualifies as a process film for its formal features and spectatorial wonder, but it falls into the ideological morass of “cultural evolution,” for it facilitates “a fossilization of peasants and artisanal modes of production” (191). The second half of the chapter offers a fascinating tour of precinematic process treatments, including not only printed how-to manuals but also craft demonstrations at international expositions of the nineteenth century. The history of cinema has corresponded roughly to the history of industrial work or, rather, the transformation of labor from manual rural work to the assembly line. Among the films cited to illustrate the state of absorption elicited by the process film in Chapter 2, Skvirsky chooses the 1981 episode “Competition” of public television’s Mr. Rogers’ Neighborhood in which there is a memorable segment about crayons. In a wonderful account, Skvirsky shows how [End Page 386] the visit to the crayon factory follows the molds and wax-pouring on the Crayola company shop floor to produce crayons freshly wrapped in Crayola...

МОВЛЕННЄВИЙ ЖАНР НА МЕДИЧНУ ТЕМАТИКУ: СТАТУСНІ ПАРАМЕТРИ ТА РОЗРОБКА АНКЕТИ

The research in the field of speech genres has initiated discussions among scientists and led to the emergence of numerous analyses in recent years. Eminent Ukrainian and foreign scientists have dedicated their in-depth studies to the classification of speech genres, finding and underlining their basic characteristics. They have introduced their own definitions of the term speech genre and schemes that scientists can use with the aim of indentifying the hypergenre and the subgenres. Having analyzed the contributions of the above-mentioned researchers, we could not find the definition of the speech genre in medical subject area. The term that defines the speech genre in medical subject area as a separate genre has not been introduced yet. Rapid development of mass media, the creation of new web sites and the introduction of TV programmes which dwell upon medical problems, diseases and disorders giving both expert and public opinions on the issue have caused the appearance of the new hypergenre in medical subject area. The scientists could not have introduced the term earlier due to the fact that the genre did not exist until the end of the twentieth century. Nowadays, more and more subgenres are appearing. Consequently, we realize that the analysis of the hypergenre and subgenres in medical subject area is impossible without a proper definition. Not only does the lack of the definition exist, but also we lack the questionnaire which will enable us to study the speech genre in medical subject area taking into account its unique features. We must devote scrupulous attention to the existing speech genre questionnaires. Furthermore, we have to study hypertextuality that is typical of speech genres in medical subject area in English mass media. We have created the questionnaire on the basis of the already existing questionnaires with the aim of conducting a thorough research into speech genres in medical subject area and identifying the subgenres of this hypergenre. The most distinctive features that are typical of the genre include exact sphere of genre use, hypertextuality and indirect speech act.

Analiza felietonu w szkole ponadpodstawowej z perspektywy komunikacyjno-pragmatycznej

The article concerns the reading and recognition by students of the genre features of a newspaper column during Polish language lessons in high school. The author recalls the story of the column and the contemporary definition of this journalistic genre. It discusses the most important features, structure and varieties, the sender - recipient relationship. It also talks about the linguistic style of the column.

Bloomsbury Encyclopedia of Popular Music of the World, Volume 12: Genres: Sub-Saharan Africa ed. by David Horn et al

Reviewed by: Bloomsbury Encyclopedia of Popular Music of the World, Volume 12: Genres: Sub-Saharan Africa ed. by David Horn et al Krystal Klingenberg Bloomsbury Encyclopedia of Popular Music of the World, Volume 12: Genres: Sub-Saharan Africa. Edited by David Horn, John Shepherd, Gabrielle Kielich, and Heidi Feldman. London: Bloomsbury Academic, 2019. [xxiv, 629 p. ISBN 978-1-5013-4202-8 (hardcover); 978-1-5013-4203-5 (e-book). $275] The latest installment in the Bloomsbury’s global pop encyclopedia series, The Bloomsbury Encyclopedia of Popular Music of the World, Volume 12, Genres: Sub-Saharan Africa contains 179 entries, offering a wide and remarkable representation of African popular music varieties. Volume 12 is the fifth in the genre thread of the series, preceded by volumes on North America, The Caribbean and Latin America, The Middle East and North Africa, and Europe, and a thread of volumes organised around location rather than style. Volume 12 opens with a brief introduction that situates the effort around creating the volume, the choices made by the editors in its preparation, and some of the challenges experienced across the creation of the volumes in the series overall. The editors—Heidi Carolyn Feldman, David Horn, John Shepherd, and Gabrielle Kielich—lay out the operating definition of genre used in gathering the entries, as defined by Franco Fabbri and John Shepherd in Volume 1 of the series: ‘In music, genres emerge as labels for defining similarities and recurrences that members of a community understand as pertinent to identifying and classifying musical events’ (p. xv). Using local community definitions of the labels is critical to the enterprise, bearing also on the definition of ‘popular music’ used across the series. Though the editors admit that ‘the question of where “the popular” ends and “the folk” begins has proven particularly difficult’ (p. xvii), entry authors were counseled that, ‘music created and disseminated in rural situations in an exclusively oral-aural fashion with little or no currency outside its location of origin does not constitute a prime focus for these volumes’ (p. xvii). This places the definition of ‘popular music’ in the domain of urban, commercially recorded musics, an apt definition for the study of African popular music, which has deep ties to the urbanisation of the continent. [End Page 264] The editors conclude the introduction by reiterating the community consideration as the core criteria for inclusion, stating that they chose in the end to be more ‘inclusive rather than exclusive’ (p. xvii) in the genres presented in the volume. Written by ninety-four contributors, the volume’s entries are organised alphabetically. Each entry offers a stand-alone description of the genre, with varying levels of discussion on the genre’s defining musical elements (depending on how fixed the aesthetics are and how tightly defining the genre label actually is in practice). The entries also give a sense of the national and regional contexts in which the genre was born and has come to be performed and consumed. Written in accessible academic prose, each piece ends with a bibliography, discography, and other resources regarding the genre in question. The experience of reading through the volume, as opposed to how it might more regularly be used—on an entry-by-entry basis—reveals a highly-connected world of African popular music. There is overlap between the pieces, but this speaks to the standalone quality of the entries and the user-friendliness of the volume. For example, one cannot discuss Soukouss without placing it in relation to Congolese Rumba or describe Uganda’s Kidandali and Band genres without relating them to Kadongo Kamu. These overlaps reflect historical, national, and regional ties between genres, some of which find influence from other parts of the African continent or from overseas. The broad consideration of these genres offers readers a reminder of how in Africa, as in many places, matters of ethnicity and culture are not bound to national borders, and neither are the cultural products enjoyed by the folks who live there. In addition to offering a survey of the continent’s pop offerings, the volume acquaints readers with writers having deep ties to their materials who might be the next stop for more...

NOVEL “THE ECUMEN” BY K. SUSHKO: FROM FACTS TO THE AUTHOR’S MYTH

The article contains an analysis of the historiosophical concept of the novel “The Ecumen” by the modern Zaporizhzhya writer, publicist and local historian K. Sushko. Emphasis is placed on the genre aspects, the original worldview concept, the peculiarities of the interpretation of historical facts and the specifics of the author’s vision of historical events. Strategies of individual author’s myth-making and historiosophy of the novel are analyzed. The writer’s attention to Scythian issues is explained by the desire to synthesize different periods of Ukrainian history. There are not too much works about this period in modern Ukrainian literature. The K. Sushko’s novel fills the gap. This work contains plot and conceptual parallels to the works of other writers, among which the greatest kinship can be seen in the novel “Atossa” by M. Ulyanov and the poem “Scythian Odyssey” by L. Kostenko. K. Sushko in agreement with L. Kostenko sharply argues with the Russian writer O. Blok. Rethinking the history of the Scythian state, the author tries to combine different epochs and focuses on three periods of expansion into the territory of modern Ukraine. The public resonance of the work is confirmed by the peculiarities of the presentation campaign in different cities of Ukraine. The author’s deconstruction of socio-cultural and socio-political myths, historical and cultural appropriation of the common historical past of the Slavs are defined. One of the most important aspects is the controversy with the supporters of the nomadic way of life of the Scythians. The novel organically combines facts and author’s conjecture. The author creates his original concept based on the testimony of Herodotus, and makes a significant contribution to the development of the genre «time connection novel». Considering the structure of the Scythian state, the author draws parallels with modern Ukraine. The main aspects of the genre model of the work are analyzed. The author’s genre definition of «legend encourages consideration of this work in the context of the mythological paradigm. In the architecture of the novel there is a clear structure of the monomyth. The specificity of the narrative is determined by the author’s strategies: the synthesis of different points of view forms the polyphony of the novel, deepens its philosophical context.

«Ода Ташкенту» Зайн ад-Дина Васифи (1485 – между 1551 и 1567): к проблеме дефиниции жанра

«Ода Ташкенту» Зайн ад-Дина Васифи (1485 – между 1551 и 1567): к проблеме дефиниции жанра

Fragments of autobiography: The concept of “flickering compassion” in Portraits of Women by Ksenija Atanasijevic

In our discussion we will explore how Ksenija Atanasijevic, while writing about the poets and philosophers of ancient Greece, but also about Saint Teresa of Avila and George Sand, expressed her own understanding of the importance of women's scientific and artistic creativity, and also their emancipation. By choice of women she will write about, as well as emphasis on certain qualities of their personalities and their work, and the philosophical concepts she supported, Ksenija Atanasijevic simultaneously created her implicit imaginary philosophical "I" in Portraits of Women. Therefore, the most precise genre definition of Portraits of Women would be fragments of flickering compassion towards the personalities she is describing, and compassion can be defined as a key characteristic of her entire oeuvre and life - empathy was the basis of Ksenija Atanasijevic's ethical philosophy and her social, pacifist and feminist engagement and at the same time it was in her opinion the most important value of human life. With this choice, Ksenija Atanasijevic also anticipated the stance of contemporary feminism on the necessity of creating a female canon for shaping a women's personal and creative identity.

ОСОБЛИВОСТІ ПОЕТИКИ ОПОВІДАННЯ П. КУЛІША "ГОРДОВИТА ПАРА"

The short story “The proud pair” by P. Kulishtraditionally regarded in the romantic traditions context. But the plot, the main motives, the characters in thestory, the speech organization of the text are convinced that the elements of romanticism and sentimentalism are intertwined in poetry. At the center of the plot is a tragic love story of Marusya Kovbanivna and Prochor Osaulenko. They were parted due to misunderstanding, then married with others husband and wife, but could not live without each other. The story ends with a tragic interlude. In the short story traits of sentimentalism are presents, such as depicts exaggerated feelings, events that can move the reader, expresses democracy in the image of heroes, emphasizes nobility in their characters, there is a tragic ending.In the image of Marusya pride is hyperbolized as a leading character trait, and it is presented in the title of the story. The genre definition of the work is a story ballad. However, the poetics combines the stylefeatures of romanticism and sentimentalism (portraiture of the heroine, description of the wedding).

The transformation of the baroque genre invariant in the Cantata for soprano and chamber orchestra by Valentyn Sylvestrov into verses by Fyodor Tyutchev and Alexander Blok

Relevance of the study. The article is devoted to the genre of solo cantata, the emergence and formation of which was realized in the epoch of baroque. The long path of development of solo cantata, like many other genres based in the Baroque era, indicates its high flexibility and adaptive properties in accordance with the new aesthetic flavors of the following eras. Adaptation to the new historical-style paradigm is inevitably linked to the internal transformation of the genre, which is expressed through the process of saving or changing its parameters. The newest stage in the development of solo cantata — the 20th century, is also represented in the works of Ukrainian composers. The main features of the genre are considered on the example of the work of V. Sylvestrov.The main objective of the study is the search for a correspondence between the invariant of the solo cantata genre, which was formed in the 17th century and the Cantata for soprano and chamber orchestra of V. Silvestrov into verses by F. Tyutchev and A. Blok, dating from the 20th century.The research methodology is based on the use of analytical, comparative and historical-logical methods. The indicated methodological approaches allow revealing the peculiarities of the transformation of the genre invariant of the solo cantata in the work by V. Sylvestrov.The scientific novelty consists in identifying genre parameters characteristic of the solo cantata in the cantata for soprano and the chamber orchestra of V. Sylvestrov.The significance of this article is to identify the continuance of function of the solo cantata genre as one of the chamber vocal genres in the 20th century. It is widely spread in the national musical tradition. A detailed analysis of the work reveals many common parameters with the baroque genre — solo cantata. That is why the genre definition of “solo cantata”, both in relation to the works of V. Sylvestrov and to the works of other composers based on this genre invariant, allows to define more broadly the spectrum of compositions of accompaniment and to more clearly reveal the nature of the genre as in previous centuries, and in contemporary music.

“The Kashmir poems” of Qudsi Mashhadi (1582-1646): the problem of genre definition

In the Persian poetry of the postclassical period one can fi nd a signifi cant number of relatively little studied works, which are dedicated to Kashmir, a region located in the north-west of the Indian subcontinent. At present, there is no consensus in Iranian studies regarding the genre defi nition of “Kashmir poems”, which led to consider this problem in detail. The author of the article made an attempt to identify the genre of “the Kashmir poems”, written by Qudsi Mashhadi, whose works have never drawn interest of Russian scholars. Upon analyzing the main motifs and topics of Qudsi’s poems, the author come to the conclusion that they refer to descriptive poetry, and the descriptive motifs are placed either in the context of praise or complaints. The genetic basis of such poems is mainly formed by descriptive, panegyric and calendar poetry. It should be pointed out, that Qudsi’s “Kashmir poems” don’t go back to the shahrashub genre. The presence of similar motifs in “the Kashmir poems” of Qudsi and poems, belonging to the shahrashub genre, indicates that the motifs were transferred from genre to genre - from the shahrashub genre to the genre of description ( vasf ) or from object to object (from the description of cities to the description of regions and vice versa), which refl ects the very essence of the transformation of motifs within the framework of the canonical type of artistic creativity. The analysis has also shown that the term “ bucolic ” doesn’t correspond to the genre nature of Qudsi’s “Kashmir poems”. The study of the genesis and evolution of such poems is intended to contribute to the reconstruction of formation of Persian landscape lyrics of the XIXth century.

Strategie autofinzionali in "Leggenda privata" di Michele Mari

Leggenda privata (2017) is the latest in a series of autobiographical writings by Michele Mari. The novel is the factual narration of the author's childhood and adolescence, documented by family photos, but is also the narration of a fictional and fantastic situation of writing, where the reader is involved in live recording. In particular, the narrative framework is structured almost like a personal essay that engages dialogically the norms and potentials, opportunities and risks of a theory of autobiography. The purpose of this article is to explore the limits, the difficulties, indeed the impossibility of autobiographical writing in Leggenda Privata, which instead verges towards a complex autofictional strategy. The analysis is focused on the narrative framework and the onomastics, and the consequent theoretical questions that they raise, namely the definition of the literary genre and the identification of the subject. As the search for a proper term to identify this new form of writing confirms that Mari’s novel does not easily fit into the norms of the autobiographical genre, the multitude of names attributed to the protagonist reveal the difficulty of narrating a unitary identity for the subject.

Machine learning for music genre: multifaceted review and experimentation with audioset

Music genre classification is one of the sub-disciplines of music information retrieval (MIR) with growing popularity among researchers, mainly due to the already open challenges. Although research has been prolific in terms of number of published works, the topic still suffers from a problem in its foundations: there is no clear and formal definition of what genre is. Music categorizations are vague and unclear, suffering from human subjectivity and lack of agreement. In its first part, this paper offers a survey trying to cover the many different aspects of the matter. Its main goal is give the reader an overview of the history and the current state-of-the-art, exploring techniques and datasets used to the date, as well as identifying current challenges, such as this ambiguity of genre definitions or the introduction of human-centric approaches. The paper pays special attention to new trends in machine learning applied to the music annotation problem. Finally, we also include a music genre classification experiment that compares different machine learning models using Audioset.

Musical iconography of Annunciation: personal experience

Musical iconography of Annunciation: personal experience

Golovacheva, I. A guide to ’Brave New World’ and beyond

Golovacheva, I. (2017). A guide to ’Brave New World’ and beyond. Moscow: Izd. dom YASK. 344 p. The review deals with I. Golovacheva's Guidebook to works by A. Huxley, and particularly his best known novel Brave New World. The monograph discusses the ways in which the scientific context of the period influenced Huxley's writings and their specific imagery: he is known to have had a keen interest in natural sciences and utopian social projects. On a separate note, the review examines Golovacheva's argument that Huxley's complicated attitude to the theories and ideas reflected in the novel impeded its reception, both in terms of meaning and genre attribution: Brave New World traditionally inhabits a space between utopia and dystopia. Although admitting that the novel has all the makings of science fiction or Menippean satire, Golovacheva still denies the possibility of an unambiguous genre definition.

Spiritual song in the genre system of sacred music: questions of terminology

Purpose of the Article. The purpose of the article is to clarify the place of the spiritual song in the genre system of sacred music of the main Christian denominations based on the analysis of the basic definitions of the spiritual song genre in various national traditions. The research methodology consists of a combination of comparative, historical, cultural and musical-liturgical methods, with the help of which the spiritual song was described as a component of the genre system of the European liturgical musical tradition from the Middle Ages to the present. The scientific novelty of the work lies in the fact that for the first time in Ukrainian science, based on the characteristics of the definitions of the genre of the spiritual song in different national traditions and confessional centers, national and confessional features of the genre system of European sacred music were highlighted. Conclusions. The genre of the spiritual song throughout the history of Christian music has been interpreted in different ways. In early Christianity, the spiritual song was interpreted as a poetic fragment of the biblical text, which came on behalf of the Old Testament or New Testament characters. This tradition has been preserved in Western Christian and Eastern Christian hymnography. In the late Middle Ages in Western Europe, the genre of spiritual songs transformed. The term «song» («cantio») began to denote musical and poetic works of the strophic form written in Latin, and later in national languages, which performed the paraliturgical function, but over time became the central musical and poetic genre of the liturgy of the Western rite, radically changing it genre system. In the Ukrainian-Belarusian lands, under the influence of the Western liturgical tradition, the term «song» as a musical and poetic work of a strophic form became the basis for defining the genre in all Christian denominations. In the Russian spiritual-song tradition, which was fundamentally different from the Ukrainian-Belarusian lack of long-term connections with the Catholic culture, the musical and poetic works of the strophic form were called psalms or spiritual verses.