Research in the field of music anthropology as a separate science began to appear only in the last century. Currently, there are only a small number of studies on musical anthropology in the scientific literature. The purpose of the study is a theoretical generalisation of the manifestations of anthropological thinking in the musical art of classicism, romanticism, and avant-garde, carried out on the basis of contemporary scientific publications. The research methodology is based on the principles of analytical, historical, cultural, and comparative methods, which cover the aspects of musical anthropology of different eras. During the study, the authors considered the manifestations of anthropological thinking in the musical art of classicism, romanticism, and avant-garde, as well as modern scientific publications on musical anthropology. The authors concluded that synthetic, epic-dramatic genres of poetic ballads and poems had a particular influence on the musical composition of the Romantic era. These genres led to the emergence of a number of new compositional structures in the instrumental music of the Romanticism. This study can be used during lectures and practical classes in higher education institutions that specialise in the study of music; it can also be used by students for independent study of musical anthropology.

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The peculiarities of the world model and the human model in the Eastern European music art of the postmodern era were revealed. The research is based on a hermeneutical analysis of the contemporary Russian and Ukrainian composers’ works. The research method builds on the systematic and historical approaches. It allows to consider the individual musical text as a subsystem of a higher order system. The sociocultural context was considered. The scientific novelty consists in revealing the specifics of the Eastern European artists’ worldview of the last third of the XX and beginning of the XXI centuries. It is the consequence of studying their creativity in an anthropological dimension. The anthropological essence of the music of contemporary Ukrainian and Russian composers lies in a certain inconsistent polarity. The polarity is represented by the ironic and fragmented worldview combined with the religious quest. The awareness of the chaos and apocalyptic culture is combined with the religious support in its various manifestations. Therefore, the character in modern music has a dual essence. He is both marginal and a personality with strong spiritual support. In the works of contemporary Russian and Ukrainian composers, two postmodern worldview poles are organically combined: a destructive worldview and a desire for harmony. This polarity is caused by the crisis mentality of the modern post-totalitarian society.