Abstract: This article is devoted to a fundamental work of a famous French composer, spectral music representative Tristan Murail 'Revolution of Complex Sounds'. In her research Litvinova tries to provide an in-depth review of the composer's aesthetic views and concepts and demonstrate the main principles of his attitude to the sound and sound environment of modern music art in general. These views include the influence of electro-accoustic music on the creation of a new sound, i.e. composition of music using studio equipment; new approach to the sound and new ways of the sound creation, use of overtones, enrichment of composition techniques with new sounds such as noise and percussion instruments. The novelty of the research is caused by the fact that until this moment music researches have not focused on Tristan Murail's compositions as they deserve. For the first time in the literature Murail's aesthetic positions are viewed from the point of view of his creativity and composing. The article will be of interest for music experts, performers and non-specialist audience.

Keywords: postmodernism, avant-garde, spectral music, spectralism, musical aesthetics, creative method, birth of new music, Tristan Murail, contemporary music, art history

Abstract: The object of the research is musical public organizations, the subject is the Astrakhan regional organization “Union of Composers of Russia”. The author of the article examines such aspects as the influence of the RSFSR Union of Composers on the development of regional musical culture through stimulating the creation of regional musical organizations, the influence of regional musical organizations on the development of regional musical cultures. Special attention is paid to the history of the creation of the Astrakhan Union of Composers as a new center of regional musical culture, an analysis of the organization’s activities is carried out, its potential is being investigated. The methodological basis of the research involves the principle of objectivity, based on the priority of facts, documentary evidence and involvement of a wide range of sources, historical-genetic and problem-chronological methods. The main conclusions of the study are: SK RSFSR had a huge role in the development of Russia's musical culture through the involvement of regions in the organization’s activities, contributed to the creation of regional / national composer associations, which became new local music centers. The author's special contribution of the author tothe topic is her analysis of the history of the Astrakhan Union of Composers.

Keywords: modern music, music festival, musical culture of Astrakhan, Astrakhan composers, regional organization, musical culture, Union of composers, Commonwealth of composers, regional history, Lower Volga

Abstract: The subject of the research is the place of traditional academic or folklore instruments as well as their assemblies, vocalists and choirs in electro-accoustic music. Electro-accoustic music is traditionally divided into two large groups, music played out from an electronic media, and music where the sound is accompanied with instrumental music. The author demonstrates that the latter group is an inevitable  consequence of the former. The first electro-accoustic composers emphasized that the music was perceived in a special way due to the briefness of its structure. The participation of traditional instruments united these brief structures, and the product became more familiar to the human ear, although the functional patterns between sounds remained in principle the same. The article is based on the analysis of the structures of musical works from simpler to more complex use of instruments in them. Fundamentally new in the article is the statement itself of the fact that "pure" electro-acoustic works reproduced from electronic media, and those in which instruments and voices are used, constitute a single group with identical functionality. The forms that the instrumental part can take are considered; and it is shown that not all works where the phonogram is used are electro-acoustic.

Keywords: vocal timbre, instrumental timbre, Josef Tal, Edison Denisov, Stockhausen, Boulez, stereophony, electro-acoustic music, electronic timbre, structure

Abstract: The object of this research is the literary (epistolary) heritage of the great Russian composer Sergey Rakhmaninov. A number of his literary works are considered in order to interpret the interpretation by the composer of his own musical compositions, since it is known that Rachmaninov was famous for his authorial performance. The composer's and pianist's articles were chosen as material for the study: "Composer as Interpreter", "Sergey Rakhmaninov, one of the outstanding contemporary composers, speaks of Russia and America", "Interpretation depends on talent and individuality", "New Pianism". In her research Petrova uses an analytical approach to the material under study, which contributes to a greater understanding and a more complete immersion in the literary heritage of Rachmaninov. The novelty of the presented work lies in the fact that this problem did not arise in musicology as a separate object of study. Indeed, much of Rakhmaninov is connected with his own musical experience, with works, performing aspects, which allows to more fully reveal the creative principles of the composer. 

Keywords: philosopher's philosophy, the content of art, 20th century music, composer's archive, literature and music, musical performance, Sergey Rachmaninov, stage dramaturgy, instrumentalism, musicology

Abstract: The article deals with the corpus of problems related to the processes of commercialization of jazz musical art. The formation of artistic features of jazz in a complex way is interconnected with a number of industrial processes that have unfolded in the sphere of the music business. The activity of record labels of jazz orientation was often dictated not by artistic, but purely market interests. At the same time, the simplification of the language, stylistics and thinking of individual jazz musicians is not inherent in all jazz culture immanently, but should be analyzed from the standpoint of the intervention of market algorithms in the space of artistic processes. By examining the historical realities of a number of large Western labels, as well as the physical formats of the distribution of audio media, a special destructive influence exerted by the transnational sound recording business on the ideological layer of jazz art is revealed. As a means of overcoming the problems arising from the publication and popularization of outstanding samples of jazz open to a bold artistic search, it is proposed to pay more attention to the prospects for the development of digital services and streaming systems. With their help, independent labels will again have the opportunity to reach the interested audience, as well as to gain new listeners.

Keywords: African American music, streaming, music publishing, publishing policy, nonconformism, jazz improvisation, jazz label, Jazz music, jazz, art studies