The article examines the processes of artistic creativity and scientific activity in the second half of the 20th - at the beginning of the 21st centuries, using the example of cross-cultural communications carried out by representatives of the P. I. Tchaikovsky National Music Academy of Ukraine. These intercultural interactions contributed to the discovery of Ukrainian culture and its carriers in the eyes of other European creative and scientific communities. The participation of Academy representatives in the post-war international festival movement provided an opportunity to learn about and create platforms for researching mutual historical heritage, the latest paradoxes of composer creativity, and experimental approaches in reading opera canvases. These forms of artistic and scientific activity influenced the formation of national cultural and artistic fields: Ukrainian school of musical medievalism, powerful galaxy of sixties composers, equipped with the dynamics of the development of the festival movement already in Independent Ukraine. The typological characteristics of cross-cultural formats of artistic creativity and scientific activity are based around the personality-culture carrier (B. Lyatoshynskyi, O. Shreyer-Tkachenko, I. Karabyts, etc.), a creative or scientific collective, the communicative actions of which are aimed at intercultural interaction (projects of the Opera Studio of the National of the Academy of Music of Ukraine), educational and scientific programs aimed at communicative openness and replication of the results of the advanced artistic and scientific experience of the Academy (UNESCO chair) within the framework of European and world artistic spaces. Among the main communicative models of the development of artistic and scientific activity are the preservation and continuation of the best traditions of academic art, the search for and approval of new artistic principles of classical and modern art, the introduction of active concert-performance practices as models of improving professional skills, the enrichment of the repertoire of the Opera Studio with new international theatrical productions, realization of creative commonwealth with other cultural institutions of Ukraine and abroad. International art projects as a plane for cross-cultural interactions contribute to enriching the stylistic/species/technically expressive components of artistic creativity with an updated system of artistic values and norms, and also normalize the forms of cross-cultural interactions — from cooperation intentions, which form communication vectors, to the representation of artistic activity — projects between artists of different schools and countries.

It is noted in the article that art historical research occupies a prominent place in the scientific discourse. The work on the identification of obscure views on music as a phenomenon in the cultural and anthropological tradition of music is carried out. It is proved that scientists interpret the painting as a semiotic system with its special image code, the information of which can be decoded. The secondary verbal expression of such messages in the text of art is possible due to the mechanism of interpretation. It is concluded that the non-verbal type of artistic creativity is comprehended by the subject in the form of the inclusion of the mechanism of reception, evaluated, transformed into a verbal code, and thus interpreted.