Abstract: The article is devoted to the analysis of the education system offered by a famous Bulgarian composer, pianist and folklorist Pancho Vladigerov. The authors of the article prove the idea that Pancho Vladigerov's education system develops European and Russian music pedagogy traditions and, at the same time, has original features conditioned by personality traits of the composer and his individual performing style and priorities in education. The authors of the article define particularities of the musician's approach to interpreting note texts and describe Pancho Vladigerov's contribution to the development of the piano art of the XXth century. The research methodology is based on the systems approach that allows to define the connection between expressive and technical goals set by Vladigerov for his students in the process of teaching professional skills as wellas to determine the nature of the relationship between tradition and innovation in his education system. For the first time in the academic music literature the authors provide information and data from foreign resources on Pancho Vladigerov's teaching activity as translated by D. Bobrina from Bulgarian. The novelty of the research is caused by the fact that the authors define the main teaching principles used by Vladigerov in the process of teaching piano playing and composition and describe the musician's contribution to the process of developing Bulgarian pianistic and composition schools. 

Abstract: This article is dedicated to the research of the peculiarities of the interpretation of the choral genres in the work of Arthur Lourié. As a result of the conducted musicological analysis, the authors determine the role of the composer’s work in the musical culture of the early XX century, and define the innovative attempts of aligning the expressional capabilities of the symphonic and choral scores, aimed at strengthening the coloristic and expressional capabilities of the choral sound. It is substantiated that the symphonization represents the dominant principle of development of the musical dramaturgy of the symphonic cantata for mixed chorus a cappella “In the Temple of Golden Dreams” of peculiarities of the interpretation of the choral genres in the work of Arthur Lourié. The authors prove that in the cantata the lyrical-dramaturgical principle of symphonism is realized at the level of musical dramaturgy and system of expressional means. They substantiate that peculiarities of the interpretation of the choral genres in the work of Arthur Lourié uses the methods of monothematic development and creates a system of thematic arches, which contribute to the structurization of the musical material and establish the opening intonation-impulse; he also implements innovative methods that help align the expressional capabilities of the choral and orchestral scores.

Abstract: This article is dedicated to the research of the peculiarities of the interpretation of the choral genres in the work of Arthur Lourié. As a result of the conducted musicological analysis, the authors determine the role of the composer’s work in the musical culture of the early XX century, and define the innovative attempts of aligning the expressional capabilities of the symphonic and choral scores, aimed at strengthening the coloristic and expressional capabilities of the choral sound. It is substantiated that the symphonization represents the dominant principle of development of the musical dramaturgy of the symphonic cantata for mixed chorus a cappella “In the Temple of Golden Dreams” of peculiarities of the interpretation of the choral genres in the work of Arthur Lourié. The authors prove that in the cantata the lyrical-dramaturgical principle of symphonism is realized at the level of musical dramaturgy and system of expressional means. They substantiate that peculiarities of the interpretation of the choral genres in the work of Arthur Lourié uses the methods of monothematic development and creates a system of thematic arches, which contribute to the structurization of the musical material and establish the opening intonation-impulse; he also implements innovative methods that help align the expressional capabilities of the choral and orchestral scores.

Abstract: Article is devoted to an updating subject the sinesteziynykh of bases of esthetic consciousness in the theory and art practice of the Latest time. By the author it is revealed that at the present stage of development art develops under the influence of sociocultural realities of the information society which is formed in the conditions of globalization: scientific and technical revolution, expansion of mass culture, large-scale escalation of mass and media forms, processes of virtualization of society and culture. It is proved that the main tendency of art of a postmodernism is the embodiment the sinesteziynykh of ideas in the synthesized art objects based on a priority of the visuality causing all complex of means of expression. In article the method of the system analysis and logical modeling - for explanation of identification of the reasons of emergence of experimental types and new genres of the modern art and identification the sinesteziynykh of bases of their perception is used. In article it is proved that development and improvement of technologies introduces amendments in area of functioning of synthetic art genres, subordinating them to "a tendency of the worsening selection". Art projects of the second half of the XX century or follow on the way of commercialization and degradation of art, the appeal to pop culture and marginal art, or try to become an alternative way of a survival and continuation of experimental ideas of vanguard, on the basis of a sinesteziya, introspection, reflections to develop and improve sensual and cognitive abilities of the person.