Abstract: The leading research topic in this article is the analysis of the specifics of the development of saxophone art in a symphony orchestra. The chosen problem requires the study of this direction from the perspective of a broader socio-historical context, within which it is possible to identify special signs of musical culture, both in the general context and in individual genres. In this vein, the study of saxophone music in a symphony orchestra allows us to outline, firstly, the origins of the origin of interest and the introduction of a special instrument into the cultural panorama, secondly, to trace the ways and impulses of its spread, and thirdly, to find out the problems of the saxophone as part of a symphony orchestra. In order to fully understand its special place in the cultural continuum of a certain place and epoch, music for the saxophone should be considered not just as a specific artifact that has been embodied in creativity, performance, education, but as a multi-level and three-dimensional concept in the musical art of the XIX-XXI centuries. The disclosure of the role of the saxophone as part of a symphony orchestra in the article is not just carried out through the prism of the representation of a certain number of facts, names, events, and can be traced as the correspondence of the development of the instrument to those historical, political, socio-economic and, above all, cultural and artistic processes that have formed a kind of creative reinterpretation of one of the most popular modern instruments. The purpose of the study is to substantiate the genesis, development trends and the current state of saxophone art in general, as well as, in particular, in the composition of a symphony orchestra. In the study, the author focuses on iconic performers and teachers, whose personal achievements in the field of concert, research and musical and social activities had a significant impact on the formation of the saxophone as part of a symphony orchestra.

Abstract: The research subject is the modern chamber-instrumental music of the late 20th - the early 21st century in the context of the newest performance and expression means and techniques of playing the saxophone as a unique wind instrument which is difficult to interpret. A wide musical expression range of modern music involving saxophone gives an opportunity to practically evaluate the depth of philosophical and figurative concepts embodied by modern composers. In this context, the author considers the peculiarities of the recommended techniques of playing the saxophone which have been detected and studied in the creative work of Yu.L. Povolotsky. The expressive timbre and sound palette attracts a modern composer with the purpose of both to experiment and to attempt to collect the wide range of artistic and philosophical generalizations of the epoch. This mutually determined process  -  a timbre-sound experiment, on the on hand, and a continuous expansion of the performance and expression means of a saxophone within the chamber-instrumental culture, determined by it, on the other - instigated the author to conduct a scientific analysis of the chamber-instrumental works of modern composers. Besides, of a scientific and historical value is the information about the creative process of Yu.L. Povolotsky: the involvement of out-of-the-box solutions, composition structures, and the newest ways and techniques of playing the saxophone.