Statement of the problem. In recent years, there has been a surge of interest in Ukrainian art, its national specificity, inherent features, genre and style priorities, and substantive dimensions. Increasing attention of the world community activates scientific research in the field of Ukrainian academic musical culture, where there are still little-studied links. In particular, the development of chamber and vocal genres in Dnieper Ukraine in the 20s and 30s of the 20th century requires thorough study. Recent research and publication. The organization and self-organization of cultural and artistic activity of Ukrainian society in the first half of the 20th century was studied by Yu. Bohutskyi (2012). The work of M. Rzhevska (2005) is devoted to the socio-cultural aspects of the development of Ukrainian music in the first third of the 20th century. The transformation processes of the late 19th – first half of the 20th century in the musical art of Kharkiv were considered by I. Yan (2009, 2010). The historical and cultural factors of the formation of the Kharkiv violin school of the late 19th – first half of the 20th century were investigated by Ya. Kalynychenko (2025). The characteristics of the activities of the Mykola Leontovych Musical Society in 1921–1931 were provided by O. Buhaieva (2015). Objectives, methods, and novelty of the research. The author of this article highlighted stylistic changes in the vocal lyrics of individual composers, however, in general, stylistic shifts in the chamber and vocal music of the Dnieper region in the 20s and 30s of the 20th century were not studied in a separate work that determines the novelty of this research. The purpose of the article is to highlight the figurative and semantic priorities of the vocal lyrics of the Dnieper region in the context of socio-cultural shifts of the 1920s–1930s . Biographical, historicalcultural and interdisciplinary methods and approaches were used to establish the genre-stylistic features of the vocal lyrics of the Dnieper region in the context of socio-cultural processes of the 1920s and 1930s. To provide a historically objective assessment of the chamber-vocal work, historical-comparative, systemic, axiological methods were used. Clarification of the genre-stylistic and figurativesemantic specificity was carried out using music-theoretical, interpretative and comparative analysis. Research results and conclusion. The processes of the composers of the Dnieper region mastering European musical experience and searching for means of national expression in the 1920s and 1930s were largely influenced by the establishment of Soviet power and the totalitarian communist regime. This led to a fundamental change in artistic, stylistic, and figurative-thematic priorities in Ukrainian chamber and vocal music. The introduction of heroic-revolutionary sentiments and communist ideals in art led to the predominance of monumental and mass genres: symphony, opera, oratorio, and popular mass song. The spirit and content of chamber and vocal works did not meet the requirements of the dominant socio-cultural environment. This affected the low demand for the genre in performing and composing practice. The ideological “inconsistency” of vocal lyrics with officially recognized Soviet art caused a crisis in the chamber and vocal art of the Dnieper region of the specified period.
Oleksandr Stakhevych (Thu,) studied this question.