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The article outlines the existence of the main components of the polynational musical culture in the WUPR. Its feature is instrumental and vocal folklore of Ukrainians, Poles, Jews, Germans, Hungarians, Romans, and other ethnic groups, and also peculiarities of music of ethnographic regions (Boikivshchyna, Bukovyna, Hutsulshchyna, Zakarpattia, Lemkivshchyna, Opillia, Pokuttia). Musical art successfully performed its social and cultural functions in the life of civilians and military, social strata, believers of different denominations. It helped to live and fight, to educate and mobilize, to create stronger ukrainian society spirit and popularize ukrainian nation in the world, to heal. The legislative actions of the newly created state in the field of culture, particularly of art, attested to its significance. The article specifies isolated facts from biographies of musical artists, authorship of some of their works. The purpose of our work is to systematize sources of information about the various national music of the WUPR. The urgency of this is enhanced by the fact that for a long time, due to the Communist taboos, such notes were unknown to the public. The article helps to highlight the manifestations of the components of musical culture, the development of its separate genres. The feature of WUPR music was the instrumental and vocal folklore of the ethnographic regions (Boikivshchyna, Bukovyna, Hutsulshchyna, Zakarpattia, Lemkivshchyna, Nadsiannia, Opillia, Pokuttia), as well as the music-making of different ethnic groups (Poles, Jews, Germans, Romans, Hungarians, etc.), which were predominantly part of the urban population. The peculiarities of music were also influenced by the place of residence of the people, most of which lived in villages and were engaged in agriculture. The complicated living conditions caused by the First World War, and later by Ukrainian-Polish armed struggle, devastation, hunger, diseases, outbreaks of epidemics, have not suppressed music-making completely. Church music retained its prevalence (liturgical singing, bell-ringing, organ playing). The proclamation of the Ukrainian state on the territory of Eastern Galicia caused a general elevation of Ukrainians prompting the surge of their public music-making. Among the genres of music, the most popular and common one was a song. Military music was developing further, including brass bands; singing of sacred works, in particular those that were performed at the funeral of slaughtered soldiers or those who died from the wounds. Musical and theatrical life awakened. Music-making was an urgent need to compensate for the living difficulties of all the ethnic groups at that time. At the beginning and end of the WUPR's existence, such a style trend as the Galician musical Biedermeier manifested in a peculiar way. The significance of music is reinforced by the persecution of its leaders, in particular Ukrainian priests, by Polish interventionists. Numerous newspapers contributed to the development of musical criticism. The results of our scientific research are useful for better understanding of the functions of music in different situations of the Galicians' life, its essential role in satisfying certain spiritual needs. songs of the Ukrainian Sich Riflemen gained popularity; new vocal productions appeared. Military chaplains arranged, if necessary, group ; Окреслено побутування в ЗУНР головних складових полінаціональної музичної культури. Її прикметою був інструментальний і вокальний фольклор українців, поляків, євреїв, вірмен, німців, угорців, ромів, ін. етносів і особливості музики етнографічних регіонів (Бойківщини, Буковини, Гуцульщини, Закарпаття, Лемкінщини, Опілля, Покуття). Музичне мистецтво успішно виконувало притаманні йому соціокультурні функції в житті цивільних і військових, соціальних прошарків, віруючих різних конфесій. Воно допомагало жити й воювати, виховувати та мобілізовувати, утверджувати українство й оздо- ровлюватися. Закономірні дії новоствореної держави у сфері культури, зокрема мистецтва засвід- чували розуміння його важливості на фронті й у тилу. У статті уточнено окремі факти з біографій діячів музичного мистецтва, авторство деяких їхніх творів.

The spiritual life of the people displayed by the outstanding researcher with the outlook of positivist historian M. Hrushevskyi (1866–1934) in the six-volume "History of Ukrainian Literature" contains a great amount of material from folklore, written literature, epics, folk Christian poetry and legends, polemical works. It includes valuable information not only on the development of literature or musical instruments, but often refers to singing. Therefore, the purpose of the article is to outline vocal genres in Princely times, namely solo and collective performance (ensemble and choir), to show its functions, use in everyday life, military and rituals, images of performers, to inform about the old singers, their skills. These studies bring us closer to assessing Ukrainian originality, showing "locality" of lyric tradition. Foremost, the multi-volume work of historian outlines the beginnings of art, its role as a means to improve mood, to increase energy, to strengthen social solidarity. It mentions existence of standard forms of ritual poetry and recitative genres (incantations, laments, glorifications, epic works) in ancient times. It emphasizes the close connection between text, rhythm and melody of old songs. Since ancient times, musical instruments were heard alongside singing and dancing. Music was an element of syncretism in both the old religion and the new one. Description of sound environment as a precondition for its reflection in music, faith in the power of sounds is found in epic works (they appeared on the territory of Princely Ukraine). Bylinas mention the participation of parishioners in divine services, performance of sacred hymns. The six-volume work shows the significance of handwritten prayer books, which were sometimes taken with bells and icons by Kyiv invaders. Development of music was facilitated by celebrations of various festive occasions. Respect for it and belief in the power of sounds were common. Skomorokhs played a significant role in the development of singing, but such ...