This article deals with the discography (audio recordings) of the Ukrainian diaspora prominent collective – The Taras Shevchenko Ukrainian Bandurist Chorus of North America (Detroit, USA) in the context of bandura art development research actualization in Ukraine, as well as abroad, in particular, the celebration of the 100th anniversary of the collective (2018). Along with active performing activities, with triumphant performances in Massey Hall (Toronto, Canada) and the White House (Washington, USA), chorus recorded their tunes, issued numerous LP, cassettes, audio and video tapes, working with more than 600 pieces of bandura and choral repertoire. The purpose of the article is to analyze the recordings of The Taras Shevchenko Ukrainian Bandurist Chorus from the standpoint of repertoire-thematic, genre, interpretational, instrumental, performance and style aspects. The historical retrospective of the discography of the collective is being made, the latest anniversary disc “Brothers! We Shall Live!” (2018) is being inducted into the scientific circulation, which defines a the research . The thematic spectrum of the band’s recordings is being noted. In particular, Chorus created a rich catalog of recordings, which included Ukrainian choral classics by M. Berezovskyi, D. Bortnianskyi, A. Vedel, O. Koshits, M. Lysenko, S. Liudkevych, K. Stetsenko, A. Hnatyshyn, and works by H. Khotkevych, H. Kytastyi, P. Potapenko, numerous Ukrainian folk songs, cantos, psalms. It’s being noted that Chorus performing tours became an impetus for the fixation of the repertoire – recordings of the topical thematic directions, as evidenced by the names of the albums: “Again With You, My Ukraine”, “Black Sea Tour”, “Ukrainian Steppes”, “Bandura Christmas” and others. The article uses historical, axiological, musicological and cultural approaches and corresponding methods that determine the research methodology. In particular, the historicalchronological method is being used to consider the sequence and stages of the recording work by the Chorus, axiological – to determine their artistic value, musicological and cultural methods will contribute to various aspects of the art analysis of The Taras Shevchenko Ukrainian Bandurist Chorus in world cultural space. Conclusions . The records of the The Taras Shevchenko Ukrainian Bandurist Chorus identified the processes of folk instruments upgrade in the diaspora, in particular the Kharkiv-type bandura of masters P. and O. Honcharenko, Y. Pryimak, M. Liskivskyi, A. Chornyi, M. Diakivskyi, A. Birko and others. The analysis of the chorus recordings allowed determining the dynamics of both general tendencies of preservation and reproduction of chorus performance and artistic achievements in different periods of its functioning under the direction of conductors H. Kytastyi, V. Bozhyk, P. Potapenko, V. Kolesnyk, O. Makhlai and others.