Історіографія дослідження камерно-інструментального мистецтва України: хронологічні, про- блемні та методологічні аспекти класифікації

The purpose. The article analyzes the studies of the Ukrainian chamber art with the aim of classifying their types according to chronological, problematic and methodological criteria. Methodology. Historiographical, source study, analytical, typological and comparative methods of research are applied. Scientific novelty. The author's classification of the types of research of Ukrainian chamber art is presented in terms of their chronology, problems and methodology, which made it possible to identify existing gaps, to find and approve the necessary criteria for further analysis of artifacts of chamber creativity as cultural and aesthetic phenomena in their historical, cultural, semiotic and intermediate parameters. Conclusions. Chamber art is an integral part of the Ukrainian musical culture, which becomes an object of national, regional, bio-bibliographic research in the aspects of historical, cultural, philosophical, art criticism and musicological problems. The analysis of the special literature reveals the dominance of classical musicological strategies for studying historical genre, style and stylistic aspects of Ukrainian chamber creativity. Despite the attraction of musicology to the interdisciplinary approaches of modern humanitaristics and the existence of some works, where the poly-methodological principles have been successfully applied to the analysis of musical phenomena of classical and non-classical chamber art of Ukraine, the theoretical and methodological potential of related sciences is not sufficiently involved. In this regard, theoretical and methodological studies lead scientists to the level of deep cultural, aesthetic and philosophical reflection and the development of the newest research parameters for the chamber art, which provide for the application of integration approaches based on the synergy of musicological traditions and modern interdisciplinary opportunities for scientific interpretation of the "old" and "new" "music (the philosophy, aesthetics and semiotics of music, the theory of intermediality, cul- ture-hermeneutic analysis, cognitive interpretation, etc.). Approbation of these necessary criteria for the analysis of musical artifacts as cultural and aesthetic phenomena lays the foundation for a new cultural doctrine of modern musicology, which leads to a comprehension of the historical, cultural, semiotic and intermediate aspects of chamber art in the context of the universalistic paradigm of postmodern culture. Consequently, the expediency of searching for a system research model that would allow forming a comprehensive view of the development of the Ukrainian chamber art is unquestionable.