Abstract: This article focuses on transforming a musical language and the correlation between the esthetic guideline, invention, compositional technique, and language. The author describes Pierre Boulez’s two strategies in life and work, which allowed him to gain significant cultural authority, and sets out the people who influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in Boulez's esthetical and theoretical texts, describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique, and a language, the author considers Boulez’s supporter Heinz Holliger's piece for viola, Trema(1981). The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing the mind on music structures), and hermeneutics (the process of understanding and interpreting). The research material is of methodical importance for modern educational courses in the theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation” and focuses on overcoming the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis,” which includes not only the turn from a technique to a language but also electroacoustic “sound manufacturing.” The following aspects of Hollinger’s Trema are considered for the first time: the idea, the principles of new solo music, and the new technique. The author arrives at the conclusion that Trema belongs to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.  

Abstract: This article focuses on transforming a musical language and the correlation between the esthetic guideline, invention, compositional technique, and language. The author describes Pierre Boulez’s two strategies in life and work, which allowed him to gain significant cultural authority, and sets out the people who influenced Boulez’s esthetics. In a broad esthetic and philosophical context, the author shows the turn from the technique to the language in Boulez's esthetical and theoretical texts, describes the three concepts of the language, the period of synthesis following the period of rejection, and Boulez’s concerns about the problems of music perception. In the context of Boulez’s thesis about the unity of an invention, a technique, and a language, the author considers Boulez’s supporter Heinz Holliger's piece for viola, Trema(1981). The author uses a comprehensive approach as a combination of elements of comparative analysis, musical phenomenology (focusing the mind on music structures), and hermeneutics (the process of understanding and interpreting). The research material is of methodical importance for modern educational courses in the theory and history of music. The author arrives at the conclusion that Boulez, as well as Kant, directs the concept of art towards Aristotle's category of “poiesis” as “craft and creation” and focuses on overcoming the esthetics of rejection (preceding the classic-romantic tradition) in Boulez’s turn to the period of “synthesis,” which includes not only the turn from a technique to a language but also electroacoustic “sound manufacturing.” The following aspects of Hollinger’s Trema are considered for the first time: the idea, the principles of new solo music, and the new technique. The author arrives at the conclusion that Trema belongs to the “multilayered music epoch” and that radical rethinking of a musical language sharpens communication.  

Abstract: The subject of the research is the activity of a leading composer, theorist, polemist, teacher and conductor of New Music Pierre Boulez whose activity led to the foundation of Institute for Research and Coordination in Acoustics/Music (IRCAM, the Centre Pompidou in Paris). Petruseva analyzes the environment and stages of Boulez' creative activity, three types of musical establishments (training, performing and research establishments), IRCAM structure; Boulez' article 'Technology and the Composer' that became the manifesto of IRCAM; Boulez' interpretation of the total serialism, denial of preceding (nearest) tradition and transition to the period of 'synthesis'. The researcher uses an integrated research method that combines comparative studies, structural musical methods and elements of social methods. The novelty of the research is caused by the fact that the author tries to outline the borders of anthroposociological research based on the example of Pierre Boulez' sociocultural activity. As a conclusion, the author describes the single line of Boulez' activity that starts with immediate problems of aesthetics, musical material, language and New Music concept and comes to musical establishments through the problems of perception and music performance. 

Abstract: The article is devoted to the two antagonistic movements in modern music, Post-Serialism Modernism and Experimental Post-Modernism. The author of the article describes the scope of concepts 'modern music', music of the 'early modern period' as well as the genesis, formation and development of the concept of universal Serialism and modern discussions on Post-Serialism compositions legitimizing the culture and ideology of IRCAM. Post-Modernistic tendencies are presented in the form of several phenomena: the concept of unlimited aleatory composition, the art of interaction and John Cage's conceptual art, 'new simplicity' of American composers, the subjectivity crisis and the faith in progress, Wolfgang Rihm's 'inclusive composition', Jean Liotard's 'condition of Post-Modernism', followers of the information theory and 'graphic designers' and Karlheinz Stockhausen's 'Charter for the Youth'. The significance of researching the three concepts of musical language is determined by the fact that the tone system is no more a harmonizing principle or a universal code for different esthetics and techniques.  The new intepretation of the theory of music offered by Theodor Adorno, Pierre Boulez and Karlheinz Stockhausen (and others) has changed the art of perception and listening to music and involves the 'free perception' (Helmut Lachenmann's expression).