Music and Time Annotation << Back The Image of the Virgin Mary in the Liturgical Music of the Renaissance L.I. Sundukova The relevance of the study and its scientific novelty is characterized by the fact that an attempt is made to comprehend the cult of the Virgin Mary that had developed by the beginning of the Renaissance and its refraction in the musical art of that time. The Mother of God has been highly revered throughout the history of Christianity, and this love has not faded to this day. However, during the XV–XV centuries, the worship of Mary acquires a special character and manifests itself in various areas of culture. The study refers to various types of fine arts, as well as the philosophy of the Middle Ages and the Renaissance, which allows us to consider musical practice not in isolation, but within the framework of the cultural space surrounding it. The hypothesis of the study is to substantiate the connection of many works of the Renaissance with marian devotion. The object of study is the various components of musical compositions of the 15th–16th centuries – poethis texts, textural properties, thematism. The subject of the study is the manifestation of the image of the Virgin Mary in them. The purpose of the study is to identify the characteristic ways of musical devotion to the Mother of God. These include the creation of special texts for musical compositions, the inclusion of encrypted "messages" in the fabric of the composition, the implementation of numerical symbols due to texture, as well as the appeal to cantus prius factus. Keywords: Renaissance, Virgin Mary, Guillaume Dufay, Josquin des Prez, Pierre de La Rue, Loyset Compere, philosophy, visual arts. Pp. 03-08.