Abstract: The purpose of this article is to identify the role of polyphony in choral a cappella music of Russian compositional writing of the twentieth century. The subject of the study is the a cappella choral work of Dmitry Shostakovich. The object of the research is to consider the polyphonic techniques in the works "Ten poems of revolutionary poets", "Two treatments of Russian folk songs for unaccompanied choir", "Fidelity". The author examines in detail the polyphonic means in the choral heritage of the great Russian composer. Special attention is paid to polyphonic methods in a cappella choral works. The author states that D. Shostakovich's polyphony is distinguished by its depth and semantic concentration. The appeal to imitation, sub-vocal and contrasting polyphony in D. Shostakovich's a cappella choral compositions is characterized by an individual approach to solving a creative idea. The methodology consists in the synthesis of research methods, including musicology, poetics and choral studies. On the basis of this synthesis, the parameters of the musical composition are revealed: the analyzed genre specifics and polyphonic means, the features of choral writing. The main conclusion of the research is the paradigm of a deep stylistic synthesis of secular and spiritual principles in the works of D. Shostakovich. This position has become a determining factor for polyphony as the dominant principle of the composer's musical thinking. Attention is focused on the need to study the polyphony associated with the genre and style features of choral compositions for unaccompanied choir due not only to the general artistic and historical potential of choral culture in general, but also especially to its great importance in modern musical art.
The novelty of the research lies in the fact that for the first time polyphony in the works of D. Shostakovich is analyzed from the standpoint of musicology and choral studies. The author's special contribution to the disclosure of the topic is the study of the works "Ten poems by revolutionary poets", "Two arrangements of Russian folk songs for unaccompanied choir", "Fidelity", which had not previously been the object of special research.

Abstract: The author examines in detail the revival of ancient choral genres and forms that corresponded to the aesthetic trend in the Russian musical culture of the second half of the twentieth century. The subject of the study is the stylistic features of Vadim Salmanov's polyphonic writing. The object of the research is the choral heritage of V. Salmanov's a cappella from the point of view of integrating new compositional techniques and polyphony. Special attention is paid to polyphonic techniques in the concert for the a cappella choir "Lebedushka". The author examines in detail the dramaturgy and architectonics of the choral concert "Lebedushka", as well as such aspects of the topic as: polyphonic methods, including imitation polyphony and heterophony, writing techniques of the twentieth century (sonorica, aleatorica). V. Salmanov's works clearly demonstrate that the genre of choral concert occupies one of the main places in the history of Russian choral creativity a cappella. It is proved that in the genre hierarchy, it is the choral concert that plays the leading role in terms of the number of artistic discoveries. The research methodology is based on the analysis of historical materials, a wide range of works by Russian musicologists concerning the history and theory of musical genres, polyphonic writing techniques and performing practice. Through the synthesis of research methods, including musicology and choral studies, the parameters of musical composition are revealed. The main conclusions of the conducted research are the paradigm of artistic connections of traditional polyphonic techniques with modern means of compositional writing. The novelty of the research lies in the fact that for the first time polyphonic techniques in modern choral composition are analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of V. Salmanov's choral concert "Lebedushka", which had not previously been the object of special research from the point of view of polyphony. In this work, the presentation of musical material itself, as well as polyphonic methods of working with it, are conducted under the auspices of the search for a new sound characteristic of modern music. Attention is focused on the need to study the issues related to the role of polyphony in modern choral composition, due not only to the general artistic and historical potential of choral culture as a whole, but especially its great importance in modern musical art.

Abstract: The purpose of this article is to identify the parameters of cyclization, as well as techniques for updating the ancient form and technique of polyphonic writing by modern musical means in a cappella choral music. The subject of the study is the choral creativity of Sergei Ekimov. The object of the research is the study of the architectonics of the cyclic form and the consideration of polyphonic techniques in thirteen five-voice madrigals "From the Rubayat of Omar Khayyam" by S. Ekimov. The musical language of the St. Petersburg master is saturated with semantic concentration, differs in the expression of the utterance. The appeal to ancient polyphonic genres, forms and techniques of writing in S. Ekimov's choral cycles is characterized by an individual approach to solving creative ideas. S. Ekimov embodies the images of Omar Khayyam's poetry in music and forms his own author's concept of the entire cycle.
Through the synthesis of research methods, including musicology, poetics and choral studies, the parameters of musical composition are revealed: the architectonics of the cycle, genre specificity and musical. The author examines in detail such an aspect of the topic as the dialectical interaction of constructive and destructive formants of the architectonics of the musical form of polyphonic compositions for chorus. The main conclusion of the research is the paradigm of artistic connections of the Western European polyphonic tradition with the achievements of Russian musical culture through the prism of modern techniques of compositional writing (sonorica, aleatorica). The attention is focused on the need to study the problems associated with the architectonics of modern choral polyphonic a cappella cycles, due to the general artistic and historical potential and the significance of Russian choral music.
The novelty of the research lies in the fact that for the first time the polyphonic cycle of choral creativity a cappella by a modern Russian composer is analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of Sergei Ekimov's essay "From the Rubayat of Omar Khayyam", which has not previously been the object of special research, and its introduction into modern scientific usage.

Abstract: The purpose of this article is to identify a close, "polyphonic" connection, consolidation of ancient forms and techniques of compositional writing of the twentieth century. The subject of the study is the choral creativity of Alexander Vustin. The object of the study is the consideration of polyphonic works of techniques in A. Vustin's composition "Veni Sancte Spiritus". The musical language of A. Vustin is characterized by extreme restraint, depth, semantic concentration. The appeal to ancient polyphonic genres, forms and techniques of writing in A. Vustin's choral compositions is characterized by an individual approach to solving a creative idea. The nature of the presentation of the original source, the methods of working with it acquires uniqueness in accordance with the new artistic tasks of modern music.
Through the synthesis of research methods, including musicology, poetics and choral studies, the parameters of a musical composition are revealed: a musical-text source is attributed, genre specifics and musical form are analyzed. The author examines in detail such an aspect of the topic as the dialectical interaction of constructive and destructive formants of the architectonics of the musical form of polyphonic compositions for chorus. Special attention is paid to the ancient technique of writing on the cantus firmus in its refraction in modern choral composition.The main conclusion of the conducted research is the paradigm of artistic connections of genres, forms and techniques of ancient polyphony with modern means of compositional writing (sonorica, aleatorica and others). Attention is focused on the need to study the issues related to the architectonics of modern choral composition, due not only to the general artistic and historical potential of choral culture as a whole, but especially its great importance in modern musical art.
The novelty of the research lies in the fact that for the first time polyphonic techniques in modern choral composition are analyzed from the standpoint of musicology and choral studies. A special contribution of the author to the disclosure of the topic is the study of the composition "Veni Sancte Spiritus" by A. Vustin, which has not previously been the object of special research, and its introduction into modern scientific usage.

Abstract: The purpose of this article is to study polyphonic techniques in the opera choirs of M. Mussorgsky. The question is raised about the identity of M. Mussorgsky's polyphonic thinking from the point of view of the free refraction of the forms and techniques of writing Western European polyphony in it. The subject of the study are choirs from the operas "Boris Godunov" and "Khovanshchina".
Through the synthesis of research methods, including musicology and choral studies, the specific features of M. Mussorgsky's polyphony are revealed. Attention is drawn to the fact that polyphony in M. Mussorgsky's operas is an extremely broad concept, consisting in the author's specificity of the manifestation of counterpoint as a general polyphonic state of all elements of figurative and musical dramaturgy. Attention is focused on the emergence of an organic trinity of sub-vocal, imitation and contrast polyphony. Based on the analysis of choral scenes, it is concluded that M. Mussorgsky's polyphonic thinking, having developed outside the mainstream of polyphonic classics and classical voice studies, significantly influenced the formation of the individual compositional style of Russian composers of subsequent centuries.
The novelty of the research lies in the fact that for the first time a separate study is devoted to the choral polyphony of M. Mussorgsky, presented from the standpoint of musicology and choral studies. The author's special contribution to the disclosure of the topic is the study of choral polyphony as the main creative method of M. Mussorgsky, which is the object of special research and consists in the free refraction of forms and techniques of writing Western European polyphony in Russian music of the second half of the XIX century.