Th e study ”Th e repertoire of the performer Nina Ermurachi in the Folclor orchestra: dominant categories and aesthetic trends” addresses some methodological and epistemological aspects of the theme, designed as a preliminary stage of a wider research on the contribution of the professional folk orchestra “Folclor” in the work of cultural patrimonialization on the platform of neo-traditional art from the late Soviet period (1960-1980). Th e focus is on elucidating the heuristic relevance of some seminal notions from cultural studies theory. Th e author tries to argue the complexity, multiplicity and plurivalence of aspects related to aesthetics, ideology, social base, semantic universe, expressive and typological structures in the repertoire and vocal art of the soloist Nina Ermurachi. Full-time employee of the orchestra for over 37 years, the artist got the most out of around 180 songs in neo-traditional style, a solid and important musical heritage in the form of audiovisual recordings, included in the fund of IPNA Company “Teleradio-Moldova”. Starting from Cliff ord Geertz’s suggestions, two strategic typological categories are delimited in the artist’s repertoire, which symbolize the hegemonic force of two great directions or layers in the patrimonialization process: 1) creations grouped around the idea of national ethos and 2) creations centered on the “new, socialist vision”.