Abstract: The subject of the study is Three Fragments of the Opera Wozzeck by A. Berger. Opera Wozzeck is a peak of the embodiment of ideas and expressionism. Detecting the traditions, from which a musical language and musical forms of this piece of work grow, can become a fascinating research problem. However, the whole opera is too great for the short article, while Three Fragments as if includes the key moments of opera, so it is possible to compile an impression of the whole work relying on them. The subject of the study is the traditional and innovative techniques of musical language, presented in the given cycle. The article provides a detailed analysis of the use of traditional musical genres, forms, techniques. Also, tone continuity is observed. Along with it, the analysis of the composer's innovative techniques is carried out, and also a new use of traditional means in the context of the expressionist concept is identified. In the course of the research was concluded that in A. Berger's artistic work, particularly in Three Fragments of the Opera Wozzeck, occurs a synthesis of musical language, inherent to the tradition of romanticism and innovative, expressionistic techniques. This method gives rise to a unique, inimitable composer's style, which allowed A.Berger to create one of the principal compositions of the XX century. 

Abstract: The subject of this research is the Five Songs to Peter Altenberg's Picture Postcard. The Songs were written using the technique of free hemitonics (twelve-tone row), thus demanded new means of harmonic centralization. The object of the research is the pitch rows and motive-quotes that act as the central elements of the musical language. In her research the author traces back the succession of Berg's composition and its relation to Mahler's thoughts about the artist and the world around him. Skosyreva pays attention to performance difficulties and carries out a detailed analysis of pitch rows used in the series as well as motive-quotes that compose the meaningful tissue of the songs. The sequence of important motives is reflected in special 'semantic rows'. The novelty of the research is caused by the fact that the author carries out a detailed analysis of the core element that was used by Alban Berg to compose his Altenberg Lieder. As a result of the research, the author concludes that the fourth opus of Berg is filled with multidimensional meanings, references and allusions. For a performer it is important to know these meanings and to feel their presence. This allows to better understand a composition. Quartal and tertian motives, small second intonations and allusions to Bach's, Debussy's and Mahler's music compose the unique tissue of meanings and music.