Abstract: The article examines the musical culture of the Stalingrad region during the period of the Great Patriotic War as a provincial version of the Soviet musical and cultural system. The unique traits of this model include a sequential change in the types of military regions within the range from noncombatant to front-line types. Among the most notable processes – evacuation-reevacuation transfer of musical institutions, the organization of concerts, musical and theatrical, educational, compositional and musicological activities, amateur music playing, informational and production-technical components – which are all examples of social charitable initiatives. The methodological complex for studying this topic includes the systemic and comparative approaches, theoretical modeling on the basis of the material from central and local archives and periodical press. For the first time in historiography the author undertakes to analyze the structure of the musical and cultural model of the Stalingrad region, to distinguish and describe its main features. Among the predominant factors determining the dynamics of the model’s functioning in 1941–1945 the author identifies foreign political and administrative elements. It is revealed that in the frontline type of model amateur artistic activities become crucial, while having the most destructive effect on the material aspect of the development of musical culture.