Abstract: The subject of the study is sacred water sources, which can be recognized as objects of cultural and natural heritage. Sacred water sources are important objects of religious worship and places of pilgrimage, of particular importance to various cultures and religions. They are often accompanied by legends, which makes them unique and valuable objects of cultural and natural heritage. However, despite their importance, many sacred sources remain unidentified and unprotected, which can lead to their loss and disappearance. The authors, based on the results of expeditionary research conducted by scientists and graduate students of the Altai State Pedagogical University, hypothesized that sacred water sources can be identified as objects of cultural and natural heritage. In order to identify sacred water sources as objects of cultural and natural heritage, their study and typologization is necessary. The article analyzes various approaches to the typologization and classification of sources, including territorial, infrastructural, historical, ethnographic and anthropological. Particular attention is paid to the various levels of clericalization and infrastructural security of sources. The author examines various factors influencing the classification, such as the layering of meaning, local traditions and the variability of the status of sacred sites. The study also highlights the need for an interdisciplinary approach to typologization in order to take into account all aspects of their essence. Among other things, the authors focus on the term "sacred water source", which is insufficiently defined in the legislative framework and modern dictionaries. In general, the study highlights the need for a deeper and more systematic approach to the study and protection of sacred sites, which is important for preserving the cultural identity and spiritual heritage of the peoples of the country.

Keywords: places of interest, clericalization, typology, classifications, intangible heritage, cultural heritage sites, natural heritage sites, Sacred water sources, heritage, historical and cultural heritage

Abstract: Artistic space in animation art is a multifaceted concept, including various aspects that influence the perception of an animated film. This topic is actively discussed in theoretical discourse and covers various approaches to its terminological definition and classification. The purpose of this scientific study is to justify the choice of universal parameters, from the point of view of the author of the work, characterizing the artistic space of an animated film. The object of the study was animation cinema as a phenomenon of art and culture. The subject of the study is the artistic space of an animation work. The objectives of the study are to analyze existing art classifications parameters of the artistic space of an animated film, as well as to propose the following parameters for analyzing the artistic space of an animated work: semantic, temporal, editing-rhythmic, color-light, sound. To classify the artistic space of an animated film, a system-analytical and typological approach was used. In the analysis of animated films, descriptive-analytical and structural-semantic methods were used. The scientific novelty of the work lies in the fact that it is the first to propose a classification of parameters with the help of which it is possible to deeply analyze different aspects of the artistic space of an animated work, which is of interest for further art history research in the field of animated cinema. As examples of how the listed parameters of the artistic space of an animated work contribute to a holistic and deep examination of the films, the films of Russian animation film directors - Yu. B. Norshteyn "The Tale of Tales" and D. A. Geller "A Man Meets a Woman" - are analyzed. The proposed classification provides potential for art historical research in the field of animation art.

Keywords: color-light parameter, the temporal parameter, the installation and rhythmic parameter, semantic parameter, classification of the art space, analysis of an animated film, animated cinematography, parameters of the art space, animation art, art space

Abstract: An analysis of the regional, cultural and technological observations is proposed in the article with the aim of preserving a unique phenomenon of the textured pattern belts of the Semeiskie people from Transbaikal. The work is based on personal photo archives of residents of the village of Bichura in the Republic of Buryatia and interviews with them. Photographs are used as an auxiliary source to visualize belts in the folk costume complex. An analysis of digital images of photographs from the beginning of the 20th century to the 1980s is presented. Despite the insufficient quality of the photographs by modern standards they represent a valuable source. In terms of statistics on the use of a traditional men's suit (an obvious replacement for the civilian leather belt) age and gender limits for wearing, as well as the preservation of traditional ornamentation. The scientific novelty of the study consists in systematization and generalization of heterogeneous information, which allows to analyze images according to the author's method of describing textured pattern belts. The geometric elements of the pattern, the composition, the principle of constructing the ornament, the approximate number of woven threads. Photographic materials from personal and museum archives have been introduced into scientific circulation. A comparison of the belt ornamentation in the photographs with real samples is made. It is preliminary established that there is no basis for dividing the belts by gender and age. The results are obtained using content analysis, visual analysis, comparative-typological, comparative, biographical methods and the formalization method. The analysis of the content of the images is based on the identification of visual elements that are significant from the point of view of the problem at hand, the frequency of their appearance in the selected collection of images and subsequent analysis of the quantitative results.

Keywords: methods of fastening, visible parameters, rapport motif, ethno-confessional affiliation, principle of ornament construction, contrast, basis, auxiliary source, old Believer sign, textured pattern weaving

Abstract: The traditions of the interaction of word and music in the Yakut folk song of Dyeretia Yrya in Olonkho culture of the central (Prilensky) region are investigated. The study of the tradition of the interaction of word and music in the Yakut folk song is important due to the fact that it helps to understand the mechanisms in the relationship of word and music in folklore, in addition, this issue has not yet been considered as a special one in science, especially since the verse structure and their patterns in ancient poetic texts differ from modern folklore and vocal works, and their melodies are suprasemantic in nature. The song traditions of Dyeretia yrya in Olonkho were formed before the 1st century BC and many of their significant elements have survived to our time. The material of the study is the musical transcriptions of the Dyeretia Yrya Olonkho recognized by Olonkhosuts (Olonkho culture researchers). The methodology is based on theoretical developments in ethnography, philology and folk music. In this work, the author relied primarily on the method of comparative analysis. For the first time, on the basis of comparative works, it is shown that the traditions of the interaction of word and music in the Yakut folk songs of Dyereti Yrya in Olonkho culture of the central (Prilensky) region can be revealed by comparing the rhythm of the verse structure and the quantitative rhythmics of the chant, which in the future will help to reveal the deeper integrative possibilities of these two semantic systems and temporary art forms. The traditions of the interaction of word and music in the Dyeretia of the central (Prilensky) region of Yakutia are canonical and have been preserved for centuries. In the songs of Dyeretia Yrya, the melodic line develops according to the principle of "rotation in a closed circle" and has a pendulum-like character of the melodic pattern, which confirms the antiquity and patriarchy of such songs from Yakut legends. In the verse structure of the dyereti of yrya in olonkho, the tendency to equilocation and the presence of seven-syllable and six-syllable periods characteristic of Turkic versification are revealed. In the quantitative rhythm of the chant, the dominance of chants is observed to a greater extent with long durations, each sound of which is equal to short durations, expressed by eighth, sixteenth durations and trioles. The super-long ones represent the introductory part and necessarily open the melody, thereby emphasizing the beginning of the song.

Keywords: the verbal structure, semantics, olonkho, dyeretii yrya, The word-music ratio, interaction, traditions, musical ethnography, quantitative rhythmics, Yakuts

Abstract: The relevance and novelty of this study is determined by its purpose, which is to analyze color categorization as a cultural schema. Color categorization is understood as a way of dividing the color continuum into discrete areas (color categories), which society then endows with cultural connotations and includes in the general system of cultural knowledge. According the mentioned purpose, the concept of “cultural schema” was considered, the structure of color categorization as a cultural schema was designated and an analysis of its consistent inheritance and genesis in culture was presented. To reveal the main stages of the color categorization genesis and its typological characteristics, the ternary model of culture by A. V. Kostina and A. Ya. Flier was used. Based on the identified specificity of the interaction of three functional types of culture (consumer, traditional and creative), two types of color categorization are distinguished: natural and artificial. Natural color categorization is the historically first way of classifying color, which develops as nature is imitated (natural classes of colors) and dyes available to people are mastered. An important result of the accumulation and production of new knowledge in the field of color is the formation of a taxonomy of color terms in natural language, as well as the establishment of color categorization in everyday human consciousness in the form of cultural norms and customs, for example, the division of colors into “male” and “female” or into “festive” and “everyday” in religious clothing. As cultural practices associated with color develop, artificial color categorization arises against the background of natural color categorization. Its main distinguishing feature is a completely controlled process of obtaining color and codification of color relations in the form of atlases and color systems.

Keywords: natural color categorization, ternary model of culture, cultural knowledge, cultural practices, culture, cultural schema, schema, color, color categorization, artificial color categorization

Abstract: Interactive media is a type of multimedia content that involves active user interaction, which includes various forms such as interactive presentations, games, applications and digital installations that combine text, sound, images and video in one space. The relevance of this study is related to the increasing popularity of interactive art works – computer games and, as a consequence, the increasing demand of the industry for qualified game designers. The aim of the study is to analyze the artistic design methods used by game designers to create artistic images in game video content, which contributes to the development of an integrated approach to creating a visual solution for interactive game video content. The objectives of the study are to systematize the methods and techniques by which the artist attracts and holds the user's attention in gaming media content. The object of the study is interactive computer games. The subject of the study is the peculiarity of the artist's work when creating an image of interactive content, in particular, computer games. In the course of the research, general scientific methods were used, such as analysis and synthesis, description and systematization. The novelty of the work is determined by the fact that it identifies key visual techniques used in the creation of game content. The study clarifies the designer's capabilities in creating an artistic image in interactive computer games. The proposed systematization of methods and techniques of an artist's work has practical significance, since it can be used in the work of game designers, as well as theoretical significance, since it can be used in compiling software and methodological material for training animation and computer graphics artists.

Keywords: artistic image, virtual art, game mechanics, frame composition, computer technology, computer game, screen image, computer graphics, interactive media, interactive art

Abstract: The purpose of the research presented in the article is to clarify and systematize the basic concepts that make up the metalanguage of reflections on the coloristics of the cultural landscape. Metalanguage, as the language of description, is needed for the study of another language (object language). The research materials have been compiled by theoretical works published to date, which discuss the conceptual apparatus of the coloristics of the cultural landscape. Special attention in the analysis was paid to classifications, definitions and theoretical models proposed by P. Green‐Armytage, K. Fridell Anter, U. Th. Klarén, H. Arnkil, J.-Ph. Lenclos. The hypothesis of the study is the spatiality, variability, and multimodality of the coloristics of cultural landscapes set a special vector for its description: not "from above", but "from within", from the position of the viewer "immersed" in the color environment. This principle requires special terms that can take into account the specifics of how inhabitants actually see colors in the cultural landscape, what they feel, how they remember them and use them. To achieve this goal, an informal document analysis method was used in order to interpret the actual content, create goals and understand the context of the formation of concepts describing coloristics of the cultural landscape. The novelty of the research lies in the fact that two main blocks of concepts are clearly distinguished in the metalanguage of thinking about color. They are formed around the comprehension and detailing of the meanings of an inherent and perceived color, the opposition of which in the description of the coloristics of the cultural landscape still retains its relevance. While the block of concepts for describing an inherent color remains more or less stable, there are noticeable changes in the understanding of perceived color, due to the anthropological turn of modern research on the cultural landscape. The analysis indicates an expansion of the system of terms that are commonly used to describe the deep levels of perception and understanding of color in the context of the cultural landscape, and which define the boundaries of possible judgments. On the other hand, there is a clear increase in attention to the spatial nature of chromatic parameters and their dynamics.

Keywords: color in culture, color communication, color design, nature of color, perceived color, inherent color, color cognition, metalanguage, coloristics, color

Abstract: The object of the study is current design. The subject of the study is the color content of the current design environment as a reflection of the vector of transhumanism in modern design. The research was carried out at the expense of a grant from the Russian Science Foundation No. 22-18-00407, https://rscf.ru/project/22-18-00407/ The relevance of the study is determined by a number of factors. Firstly, the today design environment most clearly reflects the processes taking place in nowdays culture associated with the vector of transhumanism. Secondly, design is a practical field that allows you to experiment with the possibilities of changing a given vector. The novelty of the study is due to the following. There are still no works related to the explication of the vector of transhumanism in design. There are no studies that would record the relationship between modern minimalism, transformations of the color environment and the vector of transhumanism in culture. For the first time, the possibilities of transforming the color content of the modern design environment towards adaptation to human perception have been revealed. The purpose of the study is to show that the current design environment has acquired the features of transhumanism, that is, it has ceased to correspond to the parameters of human perception, has ceased to relate to a person. The possibility of getting out of this impasse of modern design is associated with the color transformation of the design environment. In addition, the study of the possibilities of color transformation of the design environment was based on the work of students of the Design Department of the National Research University "MEI" on the color adaptation of the educational environment, completed in the autumn semester of 2024.

Keywords: identification, navigation, simulacrum, color adaptation, semiotic system, modernism, color, transhumanism, communication, design environment

Abstract: The subject of the research is the study of totemic representations in the Yakut genealogical traditions. Purpose: to present a comprehensive description of totemic representations in the historical and genealogical aspect, including the study of the features of totemic beliefs, the definition of the relationship of tribal structure and totemism among the Yakuts. The research's source base is represented by a wide range of published and unpublished documents. Unpublished materials have been identified in the National Archives of the Republic of Sakha (Yakutia). The methodological basis of the research was formed by the basic principles of historical science - the principle of historicism and the principle of objectivity. The main research methods used were both historical (historical-comparative, historical-typological, historical-systemic, source analysis, anthroponymic analysis) and general scientific (analysis, synthesis, abstraction, analogies, deduction). The novelty of the research lies in the fact that, based on the involvement of a wide range of sources and folklore materials, an attempt has been made to study totemic representations in the Yakut genealogical traditions. The main result of the study is a list of Yakut clans based on the "tribe-paternal clan-minor clan" model. Totems are systematized and classified within the framework of the above model. As a result of the work, databases on the genera of the Yakut, Vilyuysky and Olekminsky districts were created and registered in the FIPS. Based on the results of the work, it was concluded that further research is necessary due to the presence of a large number of unpublished documents. The research materials can be used in the process of teaching historical subjects, developing textbooks, conducting individual and generalizing research on the history of Yakutia.

Keywords: clans, ancestors, cult, zoomorphs, genealogy, database, archival documents, totems, folklore, yakuts

Abstract: The aim of the study is a quantitative and qualitative assessment of color representation in the synesthetic perception of Russian alphabet and Arabic numerals, and outlining the sociocultural potential of grapheme-color synesthesia. Open-access textual, graphic, and combined "synesthetic palettes" of Russian-speaking synesthetes comprise the subject matter of the research; its scope is the color choices structure in synesthetic grapheme characterizations. Two data categories were analyzed: 25 letter-color correlation sets (16 females, 6 males, 3 unspecified); and 23 number-color correlation sets (17 females, 5 males, 1 unspecified). The hues were grouped and sorted by the number of mentions. For each group, the numbers of "top-choice" positions, grapheme counterparts, and mentions were calculated, and the color groups most and least represented were defined. The Shannon, Margalef, and Simpson indices were employed to assess the "color diversity" of synesthetic correlations. The most "popular" synesthetic colors are blue ('sinij'), green and yellow, and the least "popular" are light blue ('goluboj'), pink, beige (for letter-color correlations) / transparent (for number-color correlations), and orange. The color diversity assessment revealed its moderately high level. The average number of color groups in individual synesthetic correlations field was 10 for letters and 8 for numbers. A qualitative variability is significant for both the colors (including achromatic shades) and their verbal descriptions. The novelty of the research is that quantitative and qualitative methods are employed to analyze synesthesia comprehensively and interdisciplinary as a biosociocultural phenomenon. The results indicate an expanded synesthetic perception of a grapheme as a sign and its content. This establishes a potential for using synesthesia to encode messages in the color fields of individual and public spaces to express their significant meanings or functions, create a comfortable environment for certain social groups and, finally, form urban identities.

Keywords: color coding, sign, diversity index, color term, color field, color, grapheme, synesthesia, perception, biosocial phenomenon

Abstract: The triumphal arches “for the occasion” as part of the ceremonial culture of Russia of the 18th century have not survived to the present day. Only graphic and written sources allow us to recreate their appearance. This article presents and analyzes new, as well as little-researched archival materials on the construction and existence of the Moscow triumphal arches in 1762, dedicated to the coronation of Catherine II. The work with such materials is based on the methods of source studies, art criticism, historical, cultural and iconographic analysis. The main object of this study were two groups of arch inventories from 1762 and 1766 and the documents accompanying them. Special attention is paid to the project of the triumphal arches program, the study of which helps to assess the level of development of allegorical culture in Russia at that time. The authors of this project and the circle of people who participated in its testing are also identified. The written materials presented and analyzed in the article made it possible to reconstruct in sufficient detail the appearance of the realized triumphal arches of 1762, trace the construction process and the further fate of temporary monuments, and complement the creative biographies of the masters involved in the works. The study clarified the number and location of paintings, emblems, statues and inscriptions, the technique and materials of their execution, the color scheme of festive ensembles, as well as the decoration of the inner surface of the arched spans and the space adjacent to the triumphal arches. Together with graphic sources, the written materials considered in the article significantly enriched the available information about the art of festive decoration of the city, the established mechanism of preparation for official celebrations and the artistic life of Moscow in the 18th century.

Keywords: 18th century, emblem, panegyric style, allegory, Catherine II, allegorical culture, coronation, festive decoration of the city, triumphal gate, triumphal arch

Abstract: The article examines the features of temple architecture in the context of the religious policy of the early Seleucids. The study is based on archaeological and epigraphic materials, since the narrative information contains only some references to the policies of the first kings of the Seleucid dynasty. Seleucus I, the successor of Alexander the Great, as well as other diadochi, faced the question of strengthening his power. At the same time, the reign of Seleucus Nicator and his son Antiochus is one of the most stable in the history of the Seleucid empire. This was a consequence of the well-thought-out internal policy of the first kings. The research methods were both the traditional general philosophical methods of analysis and synthesis for this type of work, as well as the method of systematization of materials. The novelty of the work lies in the authors' attempt to consider one of the controversial issues on the implementation of the policy of "merging peoples" through the study of the features of temple architecture. Given the state of the source base, according to the authors, attention should be paid to the material evidence. They allow us to supplement existing knowledge about the internal politics of the first Seleucids. Using the example of architectural monuments, it can be argued that integration in the cultural and religious sphere did not just take place, but was a consequence of the purposeful policy of the early Seleucids. Accordingly, the rapprochement of peoples took place within the framework of a new integration model. The historical paradox lies in the fact that the early Seleucid construct turned out to be close to the prototype of Alexander the Great, which was negatively perceived during the reign of the famous conqueror and rejected after his death by the diadochi.

Keywords: religious policy, architecture, temple construction, Alexander the Great, early Seleucids, Babylonia, Antiochus I, Seleucus I, Seleucid empire, Hellenism

Abstract: The paper shows that esotericism is the area of bifurcation of knowledge in which new trajectories of thinking are born. Further, in accordance with the principle of Occam's Razor, some of them are eliminated as not corresponding to the principle of least action. The rest move into the field of regular science. It is shown that our world is a system of nested resonators, which is consistent with Descartes' idea that the world is built from a hierarchy of vortices. This also explains the great importance of boundary conditions in mathematics, since the boundaries of the resonator define the shape of the vortex. At the same time, the discreteness of energy, which is a characteristic feature of all quantum processes, becomes clear, since only isolated structures can persistently exist in the resonator. The general wave function of an entity is proposed as the product of a number of wave functions corresponding to each scale of the Universe.  A model is proposed in accordance with which knowledge becomes scientific when the trajectory of thinking and the real trajectory of the system correlate with each other. A model is proposed in accordance with which knowledge becomes scientific when the trajectory of thinking and the real trajectory of the system correlate with each other. This correlation is built using mathematical signs. Since both the real trajectory and the trajectory of thinking are cyclical, their synchronization indicates the quantum entanglement of the real and the symbolic. The Jungian concept of synchronicity is being clarified. At any moment, by explicating a sequence of signs, we reproduce reality. All particles are entangled with each other to varying degrees. Therefore, the task of the experimenter is not to create entanglement, but rather to disentangle the object of study so that it can be studied autonomously.

Keywords: mathematics, mind, entanglement, synchronicity, correlation, frequency, system, the science, esotericism, mathematical signs

Abstract: The purpose of the study is the life and creative path of the Chelyabinsk ceramic artist Pavel Alexandrovich Pakharukov. The creative path of the artist-teacher is considered as a manifestation of professional and social heroism in the difficult socio-economic conditions of life in Russia at the end of the XX-beginning of the XXI century. The object of research is the biography, the path of creative and professional formation and development of Pavel Alexandrovich Pakharukov. The subject of the research is the artistic and pedagogical techniques and methods used by Pavel Alexandrovich Pakharukov, the moral guidelines of the teacher-artist. Heroic images created in the cultural space reflect the values of society and realize the function of transferring these values from generation to generation, contribute to the preservation and formation of traditions. This is especially true for decorative and applied art, which has its roots in traditional folk art and is an important element in the preservation and development of traditional values in the arts. The formed heroic images are a spiritual support both for an individual and for our people, create values and guidelines for the whole society. In the course of the study, historical-systemic, historical-genetic, historical-biographical and diachronic methods were applied. The scientific novelty of the research lies in the introduction into scientific circulation of previously unexplored and unpublished information about Pavel Alexandrovich's creative and professional achievements. The work is based on an interview with the main character of the study, P. A. Pakharukov, in which he gives an interpretation of his key creative and pedagogical achievements. Based on the materials obtained during the research, an attempt has been made to present the main milestones of the life and work of the artist and teacher Pavel Alexandrovich Pakharukov in the most complete and consistent way.

Keywords: Structural ceramics, The technique of manual molding, Social heroism, Professional heroism, Decorative and applied arts, Ceramic artist, Pavel Alexandrovich Pakharukov, Pottery sculptures, Small sculptural plastic, Makosh is the patroness of crafts

Abstract: The purpose of the study is to identify the artistic features of the silver tombstone complexes over the relics of saints of the 1730s–1750s, created by imperial order. The author of the article set tasks to consider the problems related to their authorship, the stylistic analysis of monuments in the context of jewelry art of the XVIII century, the discovery of prototypes and samples in the European culture of that time. To achieve the stated goal of this study, the author applied a comprehensive method based on a combination of art criticism and historical and cultural approach. The object of study were three tombstones: St. Sergius of Radonezh (1731–1737), St. Alexander Nevsky (1748–1752) and St. Dimitry of Rostov (1758), commissioned by Empresses Anna Ioannovna and Elizabeth Petrovna from silver. Groups of various craftsmen took part in their creation (artists, carvers, sculptors, silversmiths, coiners, etc.). To achieve the designated goal of this study, the author applied a comprehensive method based on a combination of art criticism and historical and cultural approach. When working on the article, not only the results of published scientific research were used, but also a large array of unpublished archival documents. Thanks to the reference to archival materials, the author of the article managed to find the names of many craftsmen (carvers, silversmiths, etc.) who made these works of jewelry, as well as artists (painters and sculptors) who created drawings and sketches of these ensembles. In the article, the author cites the prototypes of some tombstone complexes he found. The analysis of the stylistic features of each tombstone complex allowed the researcher to identify both differences between them and common features that differ from similar complexes that were created both before (the Old Russian period of the XVI–XVII centuries) and after (the second half of the XVIII – XIX centuries).

Keywords: silversmiths, French Regency style, Baroque, rococo, jewelry art, St. Dimitri of Rostov, St. Alexander Nevsky, St. Sergius of Radonezh, Tombstone, sarcophagus

Abstract: The subject of the study is polyphony, considered as a way of organizing polyphony in compositions for unaccompanied choir by the outstanding Russian composer S. Balasanyan. The purpose of this article is to study the stylistic features of polyphony in compositions for a cappella choir by S. Balasanyan. The object of the research is the few completed opuses of S. Balasanyan's choral heritage: "Symphony for Unaccompanied Mixed Choir" (1968), "Polyphonic Triptych on themes of Armenian folk songs" (1971), "Polyphonic Concerto for a cappella Choir" (1980). The author examines in detail such aspects of the topic as compositional features and polyphonic means in S. Balasanyan's choral compositions from the perspective of integration of national traditions and European forms of musical art. Special attention is paid to imitation polyphony in a cappella choral compositions. The article describes various positions and points of view of famous scientists on the compositions of S. Balasanyan and the understanding of polyphony in a cappella choral music. The methodology of the subject area of research in this article consists in the use of various methods: the descriptive method, the historical method, the method of analysis, the method of comparison, as well as the method of synthesis of techniques of historical-biographical and musical-stylistic analysis. The main conclusion of the conducted research is the paradigm of deep stylistic synthesis of national and professional folk in S. Balasanyan's compositional thinking. The dialogue of cultures has become a determining factor for polyphony as the dominant parameter in his choral compositions. The author's special contribution to the research of the topic is the study of S. Balasanyan's choral compositions, which were not previously the object of special research. It is especially valuable that the unpublished works of S. Balasanyan "Polyphonic Triptych on the themes of Armenian folk songs" and "Polyphonic Concert for a cappella Choir" have not yet come to the attention of researchers of musical science and represent a new source for the study of S. Balasanyan's choral heritage. The novelty of the research lies in the fact that polyphonic writing in S. Balasanyan's a cappella choral compositions is analyzed for the first time. Attention is focused on the need to study the genre and stylistic features of choral compositions for unaccompanied choir by S. Balasanyan, due to the integration of national and European forms of musical art.

Keywords: polyphony, folklore, method, composition, concert, The triptych, The symphony, choral creativity, Balasanyan, composition technique