Історико-художні детермінанти становлення традицій народно-оркестрового виконавства в українському мистецькому просторі

The relevance of the study. Professional performance on folk instruments in Ukraine emerged at the end of the XIX century and was closely connected with the development of orchestral music-making. The Ukrainian folk-orchestral instrumental system is among the most diverse in terms of the number of instruments, differing in organological structure, methods of sound production, and timbre. As a result, the variety of folk instrument orchestras in Ukraine is quite extensive and includes both monophonic (e.g., orchestras of bayan players, guitarists, domra players, mandolinists) and polyphonic (e.g., domra-balalaika and orchestras with a string section) ensembles. This diversity of folk-orchestral formations is driven by numerous historical and sociocultural factors that have shaped the characteristics of the instrumental makeup, repertoire, and performance traditions. Therefore, presenting a comprehensive picture of the historical prerequisites for the formation and development of folk instrument orchestras and the folk performance tradition in Ukraine constitutes the relevance of this study. The purpose of the study. The purpose is to provide a comprehensive panoramic overview of the specifics and historical-artistic determinants of the development of folk orchestral performance traditions within the Ukrainian artistic space. The methodology is based on approaches from historical musicology, particularly the historical-genetic, historical-descriptive, and historical-functional methods, as well as structural and systemic analysis. The results. The findings focus on outlining the historical stages of formation and development of folk-orchestral performance in the territory of modern Ukraine. Particular attention is paid to presenting, in a consistent chronological sequence, the historiography of the emergence of folk instrumental performance — from the earliest forms of collective music-making during the Kyivan Rus period to its full institutionalization in the XX century as an academic and professional artistic direction. The scientific novelty. For the first time, this study provides a consistent chronology of the historical stages of the formation and development of folk-orchestral performance in Ukraine. It examines the aspects of the evolution of this artistic phenomenon, in particular offering a detailed characterization of the instrumental components of ensemble and folk-orchestral groups at various historical stages. The connection between folk performance centers, musical guilds, and educational institutions is established, and their influence on contemporary folk performance traditions is traced. The practical significance of this study lies in its potential use in theoretical courses such as the history of folk instrument performance, the history of orchestral performance, as well as in courses introducing the practice of playing in a folk instrument orchestra. It may also serve as a valuable resource for educators in folk-orchestral classes and conductors of folk instrument orchestras. Conclusions. By analyzing the historical origins and stages of development of folk instrument performance in Ukraine, the emergence of ensemble and orchestral forms of music-making, and the advancement of professional music education, we conclude that the folk performance tradition is an integral part of Ukrainian cultural identity. It is manifested in the structural features and timbral coloring of the instruments themselves, as well as in the unique characteristics of the performing ensembles. This process is closely intertwined with a wide range of historical factors that have shaped the national cultural landscape.