The relevance of study was determined by the need to systematise the history of Ukrainian musical discography as an integral part of the national cultural heritage, which was under threat of physical and digital loss. The purpose of research was to analyse the historical, evolutionary, and regional dimensions of the development of Ukrainian musical discography from the end of the 20th to the beginning of the 21st century. The complex process in the development of the Ukrainian sound recording industry was revealed. The initial stage was characterised by the activities of foreign record companies, most notably Gramophone and Syrena-Electro. The 1922-1991 period was marked by the centralisation and monopolisation of the recording industry. This era culminated in the establishment of the Kyiv branch of the Melodiya company, which became the principal platform for producing Ukrainian records. The Kyiv Sound Recording House emerged as a key institution, serving as the technological and creative centre for recording prominent Ukrainian academic and popular music artists. The 1991-2025 period was defined by market decentralisation, leading to the rapid emergence of private studios. This era witnessed the fundamental transition from analogue formats, such as vinyl records, to digital formats, including CDs and streaming platforms. This transition profoundly altered the principles governing music production, distribution, and consumption. It was revealed that throughout the 20th century, the diaspora actively recorded and disseminated Ukrainian music abroad, effectively preserving parts of the cultural heritage that were subject to censorship within the USSR. The main challenges for preserving this heritage were physical degradation of analogue carriers and the critical need for systematic digitisation and scientific cataloguing of scattered archives. The practical significance lies in creating a scientific basis for developing a national strategy for the preservation and popularisation of Ukrainian audio heritage, including the conceptualisation of a dedicated Museum of Sound Recording
Denys Kocherzhuk (Mon,) studied this question.