У дисертації досліджено становлення та розвиток народно-інструментального мистецтва Півдня України в контексті специфіки культури регіону. Здійснено історичну періодизацію і простежено розвиток традицій-ного, самодіяльного та академічного векторів народно-інструментального мистецтва ХХ – початку ХХІ ст. З'ясовано, що більшість народно-інструментальних традицій формувалися в контексті полікультурності регіону. Проаналізовано діяльність миколаївського оркестру під орудою Г. Манілова у контексті розвитку аматорського народно-інструментального мистецтва. Академічне народно-інструментальне мистецтво регіону уособлене освітньою, композиторською та виконавською діяльністю Одеської національної музичної академії ім. А. Нежданової та обласних філармоній Херсона, Миколаєва, Одеси.Ключові слова: народно-інструментальне мистецтво, музична культура, культура Півдня України, фольклор, аматорське мистецтво, академічне музичне мистецтво.^UIt is studied a formation and development of folk instrumental art of the South of Ukraine in the context of the specifics of the region's culture in a dissertation. The factors of formation of the South of Ukraine culture, and social and historical preconditions of evolution of the specified genre of art are reviewed. The historical periodization of the evolution of folk instrumental art during XX – XXI century is proposed in a work. The vectors of development of traditional and academic branches of folk instrumental art are highlighted. Their forms, artistic significance and functions are revealed. A crisis of the second half of 80 – early 90 years and a choice of independent path of development of Ukraine had caused a necessity of radical change in a content of many types of art. A feature of revival of national values in this period was the introduction of bandura classes in art educational schools, the opening of a bandura class in Odessa Conservatory, in 1987. Foundation of the Folk Bug Youth Bandura Band «Kobzarskyi Peredzvin» (1992) on the basis of Mykolaiv Municipal Collegium, in which a bandurist-innovator Georgy Matviyiv participated, became a significant phenomenon. The beginning of XXI century was marked by an interest of scientists to the traditional musical culture of the South of Ukraine, that was embodied in the work of folklore expeditions. It is important to signalize an activity of local historian, folklorist V. Kysil as an organizer of the student folk ensemble «Vencerado», where the participants were played on the authentic Ukrainian instruments: banduras, violins, cymbals, panpipes, ocarinas and others. The ensemble's repertoire consists of folklore samples, recorded by V. Kysil in Kherson region.Academic performance on folk instruments in XXI century was distinguished by their entry to a family of recognized academic instruments of the world, which has created the new forms of performance and set the new tasks for composers.Results of the research. A history of formation and development of folk instrumental art of the South of Ukraine of the region is comprehensively studied for the first time. An unsystematic, fragmentary character of the problem research was revealed. Influence of a region's culture on the genre's development is characterized.The dynamics of socio-cultural functions of folk instrumental art at the different stages of development is studied. The achievements of the genre during XX – beginning of XXI century are summarized. The materials of the discovered manuscripts of V. Kysil and O. Makarenko were included into scientific circulation. The structure of the genre and a concept of amateur art are specified. The definition of folk instrumental art is proposed. The tendencies and prospects of its development are outlined.Key words: folk-instrumental art, musical сulture, culture of the South of Ukraine, folklore, amateur art, academic musical art.