Abstract: The subject of the research is the study of the specific stylistic features of the songwriting of the outstanding composer Suleiman Aleskerov, who played an exceptional role in the prosperity and development of the musical art of Azerbaijan, the study of the role of vocal music in the composer's work, the identification of the main features of his songs by analysis. The object of the study is the songwriting of Suleiman Aleskerov. In this context, the object of the study is to study the composer's attitude to the sources of song creativity, to the sources of folk music, to identify the national characteristics of the musical language of his songs, its originality. His songwriting is analyzed from the point of view of thematic and genre diversity, special attention is paid to the study of musical form, rhythm, mugham, melodic language of his songs. The main results of the study are that, despite the fact that Aleskerov's songs differ in musical structure, textural features, the definiteness of the national mugham is clearly expressed in them, the content of the melody, the intonation core is revealed. The author's special merits in studying the topic are that the main feature manifested in the melodies of songs is associated with the appearance of such mughams as shchur, segah, shushtar, bayat shiraz, which occur above the harmonic structure of a major or minor. Although his lyrical songs show the qualities inherent in folk songs, they differ in musical language. So, here the peculiarities of the romance genre come to the fore, and not folk songs. This is especially evident in the widely developed, smooth melody, which in its style is associated with mugham. The scientific novelty of the research lies in the fact that the songwriting of Suleiman Aleskerov was studied, the musical language of his songs and the stylistic features of the composer were revealed. The composer's songs in various genres were analyzed, the themes of his work, genre features, creative attitude to folk music and mugham were revealed.

Keywords: rhythm, lad, chorus, verse, music analysis, song, composer, Suleiman Aleskerov, mugam, style

Abstract: The object of the study is the actual process of breathing in performing practice. The subject of research in this article is the main approaches to the formation of a musician's performing breathing. The purpose of the undertaken research is to identify the specifics of the breathing of vocalists and performers on wind instruments, in particular, flautists. This will make it possible to create the necessary recommendations to improve the effectiveness of the educational process of wind instrument performers (in particular flutists). The methodology of the study was made up of complex and comparative approaches to the study of the problem posed. The methods of research of the problem posed were analysis, synthesis, methods of systematization and generalization. The novelty of the study is to identify common trends in the production of breathing for vocalists and instrumentalists. The main provisions of the work can be used in pedagogical practice, in the process of improving the methodology of performing breathing. The results of the undertaken research reveal the necessity of staging different types of breathing in vocalists and performers on the flute, the choice of which depends on the nature and content of the performed repertoire. Conclusions: both vocal and instrumental performance requires a conscious approach to the use of a particular type of breathing so that it is as natural as possible and does not lead to muscle clamps. Also, learning to work with breathing should not be limited exclusively to the aspects of proper inhalation or exhalation - no less important is the appropriate use of breathing in accordance with the style of the piece being performed.

Keywords: diaphragmatic breathing, mixed type of breathing, support of breathing, spiritual performance, repertoire, flute technique, vocalist's breath, the flutist's breath, performing breathing, statement of breathing

Abstract: The author of the article attempts to take an innovative look at the problem of the interaction of poetry and music in a synthetic whole: choral composition a cappella. The object of the study is the historiosophical poetry of F.I. Tyutchev: the poetic text of the poem "Alps", embodied in choral compositions a cappella. The subject of the study is the peculiarities of the interaction of poetic and musical texts in the creation of a figurative system of a cappella choirs created by composers of the XIX – XXI century on the historiosophical poem by F.Tyutchev. The purpose of the study is to study the ways of analyzing the logos and melos of texts, to identify the specifics of their interaction in choral compositions a cappella on the poem "The Alps" by F.Tyutchev. The article considers in this way the question of interpretation of the historiosophical poetry of F.I. Tyutchev (on the example of the poem "Alps") in choral compositions created by composers of different schools: P.G. Chesnokov, S.I. Taneev, M.V. Koval.      The path of analytical thought is shown: from penetration into the poetic primary source, which is only at first glance a landscape lyric, but representing a separate layer of the poet's historiosophical poems; to the nature of the interaction of logos and melos in choral compositions a cappella by composers of different schools at the level of perception by the composer of figurative matter, at the level of perception of metrics and rhythmics of verse, at the level of transformation of figurative matter (theme, idea), at the highest level (meditative thought). The analysis of the interaction of musical and poetic texts allows the conductor to take into account the peculiarities of the composer's reading of the poem when interpreting choral works. To date, such a way of analyzing choral compositions has not been used

Keywords: interpretation, analysis, choral composition, perception of the world, interaction, figurative matter, poetic intonation, logos and melos, historiosophy, metrics and rhythmics

Abstract: The music of the twentieth century is characterized by multidimensional concepts, a variety of composing techniques, a complex content context, which makes it difficult to master the studied material in the lessons of theoretical disciplines of music educational institutions. The purpose of the article is to substantiate the specifics of studying the musical art of the twentieth century within the disciplines of the theoretical cycle of the modern multilevel system of music education. The main method of research was a complex, requiring an interdisciplinary approach (art history, musicology, cultural studies, pedagogy, music pedagogy). The scientific novelty of the study consists in identifying optimal approaches to mastering one of the most difficult periods of composer creativity for students to perceive. As a result, a thesis formulation of the categorical and conceptual apparatus of the studied creative trends, trends and compositional styles with an accompanying illustrative series, both auditory and visual, is proposed. The practical significance of the research lies in the fact that the methodological approaches presented in the work in the study of musical art of the twentieth century will be in demand within the framework of theoretical disciplines at different levels of musical education. The materials are addressed primarily to top-level teachers (bachelor's degree, within the framework of studying the disciplines "History of Foreign Music" and "Music of the twentieth century"), however, they may be in demand, including fragmentary, and in college, and with some adaptation in high schools of music and art schools when studying the composition of the twentieth century centuries.

Keywords: perception of music, music education, postmodernism, neoclassicism, modern, vanguard, creative directions, compositional creativity, the art of the twentieth century, musical style

Abstract: The subject of the study was instrumental music of the Chuvash and wider – instrumental gusel tradition of the Volga region. The object of the research is the work on the music of the peoples of the Volga region by the scientist-ethnographer of the XIX century V.A.Moshkov "Melodies of the Volga-Kamya" (1894), the first serious study and musical-theoretical monograph on the traditional music of the peoples of the Volga region. Applying the method of performing approbation, the author for the first time gives instrumental comments on the materials, explores the notation and the structure of the gusli, as a result of which the important role of the positional thinking of the musician is revealed - an aspect that regulates the key parameters of the performing process and plays an essential role in the instrumental music of the peoples of the Volga region.    The scientific novelty of the article lies in the instrumental analysis, applied for the first time to the notes of V.A. Moshkov, which had not previously been subjected to the performing-approbation method of research and affecting the most important elements of music - the features of instrument tuning and notation of the playing. The study of the problem of matching the structure of the instrument to the recorded playing is one of the most pressing questions of the researcher when trying to reproduce notations, the further alignment of the entire performing body of notation - fingering, agogics, textural accompaniment, strokes and ultimately the structure of the playing depends on it. Having examined Moshkov's materials, the author of the article discovers identical elements of performing culture in the Mari tradition, geographically and historically existing in the neighborhood of the Chuvash ethnos, which confirms the general opinion of researchers about the Volga-Kamya region as a multiethnic space of "mosaic" cultural elements, a unique combination of which constitutes the identity of each tradition.

Keywords: traditional chuvash melodies, the system of the Chuvash gusli, Chuvash instrumental tradition, instrumental notation, Mari instrumental tradition, folk instruments, instrumental music, music of the peoples of the Volga region, chuvash gusli, traditional music