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. 

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. 

Abstract: The object of this article is the research of sociology of music  made by the famous German philosopher and musical expert Theodor Adorno. The article considers the views of the scientist on the phenomenon of music and its division into two types (two forms) - the mass and the elite one. According to Adorno, the said division lies at the heart of all music, which affects the genre, language and content conceptions of each individual piece of music. The article traces the statements and theories of Adorno; a typology of kinds of music is produced. The main method used in the article is a method of complex analysis that allows the author to encompass Adorno’s works and studies of different years within the scope of one work in order to trace the evolution of his views. The novelty of the work lies in the fact that specificity of music classification introduced by Adorno has not been adequately covered in musicology yet. And, despite its remoteness in time, the classification of the scientist is still highly relevant and requires more generalization and application in science.

Abstract: The article is devoted to one of the most striking embodiments of the work iconic for the whole world literature - The Divine Comedy by  Dante Alighieri - in the musical opus by Robert Smith, a contemporary American composer. The author draws figurative parallels between the literary source and the composition of the composer, and defines the ways of interaction between musical form and content revealing their involvement in the synthesis of arts. The article focuseson the factors that Robert Smith refers to helping the audience/listener understand the image-and-content components of the Dante poem, in particular, on use of principles of instrumental theater (singing and reciting by members of the orchestra). The author when considering one musical opus has undertaken its integral analysis that implies a contextual approach to the phenomenon under study. The symphony by Robert Smith appears as a literary and musical manifesto of the composer, the main meaning of which is to instruct the young generation on moral and aesthetic rightness. The work is considered in stages (one part after another) to reach a deeper understanding of the general concept. 

Abstract: The article is devoted to one of the most striking embodiments of the work iconic for the whole world literature - The Divine Comedy by  Dante Alighieri - in the musical opus by Robert Smith, a contemporary American composer. The author draws figurative parallels between the literary source and the composition of the composer, and defines the ways of interaction between musical form and content revealing their involvement in the synthesis of arts. The article focuseson the factors that Robert Smith refers to helping the audience/listener understand the image-and-content components of the Dante poem, in particular, on use of principles of instrumental theater (singing and reciting by members of the orchestra). The author when considering one musical opus has undertaken its integral analysis that implies a contextual approach to the phenomenon under study. The symphony by Robert Smith appears as a literary and musical manifesto of the composer, the main meaning of which is to instruct the young generation on moral and aesthetic rightness. The work is considered in stages (one part after another) to reach a deeper understanding of the general concept.