Musicologist, PhD in Art, Associate Professor of the Department of Theoretical and Applied Culturology of the Odessa National A. V. Nezhdanova Academy of Music. She received her music education at the Odessa Сollege of Music (Department of Theory of Music, 1984) and the Odessa State A. V. Nezhdanova Conservatory (musicology, 1989). She worked as a lecturer of music-theoretical disciplines at the Odessa Сollege of Music (from 1991 to 2010). T. Kaplun teaches at the Department of Theoretical and Applied Cultural Studies of the Odessa National Academy of Music (since 2000). She is the author of the courses on Musical paleography, History of Slavic culture, Ethnology and folklore of the peoples of the world. T. Kaplun defended the dissertation on The Greek cantellation in the context of the Russian Church chant of the middle of the XVII–XVIII centuries at the Odessa National A. V. Nezhdanova Academy of Music (2005). Her research interests are ethnomusicology (Slavonic and other traditions), musical medieval studies (Old Russian – Greek cantellation, services to holy wives, etc.), and history of Slavonic musical culture. T. Kaplun has over 40 publications, and has presented over 60 reports at international conferences in Ukraine, Russia, Belarus and Europe.


The Celto-Germanic western cultural-historical area and the Central-Eastern mosaic area, which included a complex of the Thracian-Illyrian, Scythian-Sarmatian and Balto-Slavonic unions, embodied in their mythology and culture (including music) archaic ideas about specific ethno-areal manifestations of the female principle.
In the Neolithic period of the matriarchy epoch, the Indo-European peoples formed the archetypal image of the Great Goddess, which in the Bronze Age disintegrated into a number of female deities with highlighted number of specific qualities and functions. In the pantheon of the Eastern Slavs, the multifunctional nature of the Great Goddess was distributed between Makosh, Lada, Lelia, Mara and other female deities. A specific place in the system of Eastern Slavonic mythical beings is occupied by the Palyan warriors (heroine warriors – bogatyrs in the female incarnation: Zlatogorka, Marinka, Nastasya, etc.), embodied in the ancient Slavonic epos. These female images represent the archaic type of heroes of the “dark” chthonic nature, which during the change of eras could not withstand the “bright” human world, its social structure and order, as well as the new generation of heroes (Cultural Hero). Similar in a number of qualities, the female mythological character of the ancient German historical poem “Song of the Nibelungs” ‒ Brunhild, is endowed with the same tremendous physical strength, perseverance and strength of spirit, as the Eastern Slavonic heroine warrior.
The author of the paper examines the general and specific qualities of the maiden warriors of two traditions (Eastern Slavonic and Germanic) in order to identify the archetypical foundations of these images and their national and ethnic identity (ethno-cultural archetypes according to Karl Gustav Jung).
The speaker reveals the musical and creative forms of the incarnation of above-mentioned images of Maiden warriors in professional music of the second half of the XIX – first quarter of the XX centuries (using the examples of musical compositions by Modest Mussorgsky, Nikolay Rimsky-Korsakov, Piotr Tchaikovsky, Richard Wagner, Richard Strauss and other composers).