Proceedings of the International scientific and practical conference ―Science at the Turning Point of History‖ (May 25-27, 2026) / Publisher website: www.naukainfo.com. – Lviv, Ukraine, 2026. - 362 p.

330 instruments themselves and through articulatory, textural, and timbral techniques employed on other instruments, including the piano, strings, harp, guitar, and others. Literature Review and Methodology of the Research. The issue of the sound semantics of percussion instruments has attracted increasing scholarly attention in contemporary musicology. Questions concerning timbral dramaturgy, sound symbolism, and the artistic functionality of percussion have been examined in the works of Ukrainian scholars such as L. Kornii, O. Kozarenko, I. Liashenko, H. Karas, O. Berehova, V. Moskalenko, and others. Existing research demonstrates that the sonic images associated with percussion instruments possess exceptional semantic diversity and are capable of generating a wide range of associative meanings, from archaic ritual and mythological connotations to representations of the modern technological environment. The methodological basis of this research combines historical-cultural, comparative, analytical, and interdisciplinary approaches. Such a methodology makes it possible to investigate the evolution of percussion imagery, identify continuity between historical traditions and contemporary artistic practices, and reveal the interaction between national, stylistic, and cultural factors in shaping the semantics of percussion sound. Findings. The growing significance of percussion instruments in the musical culture of the twentieth and twenty-first centuries is closely connected with changes in the artistic worldview and the reinterpretation of the categories of time, movement, and energy. Within the aesthetics of modernism and postmodernism, rhythm and percussiveness increasingly function as symbols of dynamic reality, accelerated historical development, technological progress, and the intensity of sociocultural processes. Simultaneously, references to natural rhythms, cyclical patterns of existence, and harmony between humanity and the universe introduce alternative semantic dimensions of percussion sound related to archetypal cultural models and the biorhythmic organization of musical time. The use of percussion instruments in contemporary compositional practice is largely determined by individual artistic concepts, in which timbre, articulation, and