The purpose of the work is to update conception of using folklorematerial in the course of solfege. The object of the research is functioningspecific of the winter cycle rites musical component in the conditions ofthe modern information society. The subject of the study is theimprovisational component in the process of reproducing folklore materialin the solfeggio classes. In particular, there is a revival and renewal oftraditional folk rites. Changes in the ways of functioning of

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... ine the relevance of the chosen topic. Folklore material wassystematically used in solfeggio courses in Soviet times, but folk songsserved in Soviet textbooks as symbols rather than as examples with whichthe rite could be reproduced. In addition, the songs had to be sung in strictaccordance with the notation, that is, the improvisational component,which is an integral feature of folklore, was excluded from thereproduction of folk samples. Over past decades, textbooks have appearedthat are based on folklore solely, but in these workbooks, notated folkmelodies should be reproduced accurately and serve as a tool of intonationdifficulties overcoming. The methods of this exploration are designated asthe comparative, historical, structurally-analytical, generalizing as well asthe method of observation. Scientific novelty lies in the fact that such anapproach is offered to the development of folklore material, which relies on rhythmic and melodic improvisation. Conclusions. The use of folklorematerial in educational practice can be considered as a modern form of theexistence of folklore. The reproduction of improvisation processesinherent in folklore in solfeggio lessons is carried out by creating rhythmicand melodic versions of a given model and by performing creative tasks.