Abstract: The article explores the problem of embodying the calligraphic gesture, as well as the main attributes of Chinese traditional writing - ink, brush and paper in the space of musical art. The object of the study is the chamber instrumental music by contemporary Asian composers Lee Chie Tsang (“Interfusion IV – Variegation in Colour” for solo viola), Lei Liang (“Brushstroke” for chamber orchestra) and Yi-hsien Chen (“Sparking” for 12 instruments). The purpose of the work is to identify and substantiate the principles of transferring the philosophical, aesthetic and visual-semantic properties of calligraphy into the musical fabric of instrumental compositions. Research methodology: the interdisciplinary nature predetermined the use of the comparative method to identify and substantiate the typical features of calligraphic writing in the musical fabric of named works. Selected chamber-instrumental opuses of contemporary Asian composers are considered in Russian musicology for the first time and are intended to expand understanding of the methods of refracting the art of Chinese calligraphy in music. In the aforementioned chamber-instrumental works by Lee Chie Tsang, Lei Liang and Yi-hsien Chen, the specificity of the refraction of individual graphic elements of the hieroglyph in music is considered; different types of consistency and shades of mascara (dry, wet, concentrated, light, broken), as well as the manner of working with it (spraying); the features of the sound reflection of a brush stroke are identified using texture organization and sound production techniques, the brush stroke is presented as a musical gesture, a sign reflecting the choreography of a plastic gesture; the principles of transposition of calligraphic laws of space organization were formulated, the idea of ordering the score sheet using calligraphy methods using pauses and fermata to separate “imaginary squares” (metric grid) and “adjusting” the ratio of time intervals between musical gestures was substantiated.

Keywords: contemporary Chinese music, Sparking, Interfusion IV, Brush Stroke, Yi-hsien Chen, Lei Liang, Lee Chie Tsang, calligraphic gesture, calligraphy in music, Chinese chamber music

Abstract: The subject of the study is the original author's method of composition, developed by the modern Chinese composer Chung Yiu Kwang based on the 64 hexagrams of the “I-Ching”. The ancient Chinese philosophy of taiji attracted many composers of the second half of the twentieth century. Chung Yiu Kwang developed a quasi-serial writing technique: four 12-tone fundamental series are built on the tritone relationship of two hexachords - yin and yang. The purpose of the research is to study the implementation of the basic principles of the “I-Ching” in the composition system of Chung, using the example of the composer’s only serial piece “Under The Red Eaves”. For the first time in Russian musicology, the composition method of Chung Yiu Kwang was considered; a creative portrait of the composer and an overview of his main works are presented; the path of formation of his original technique is traced; аn analysis of the first hexagrams in the orchestral play “Under The Red Eaves” was carried out. The formation of the original composition method was due to the creative interests of Chung, his studies in New York, his acquaintance with Chou Wen-Chung and his students - representatives of the Chinese New Wave - Tan Dun, Zhou Long, Chen Yi. This predetermined the musician's turn to the synthesis of the ancient Chinese philosophy “I-Ching” with Western serial methods of organizing musical texture. Based on the symbolism of hexagrams and the ancient Chinese lü scale, the author builds a three-level system of interaction of pitch relations: the level of fundamental series, the level of complementarity of yin and yang segments that give rise to 12-tone rows, and the level of alternation of yin and yang tones in accordance with the change of dotted and solid lines in hexagrams..

Keywords: fundamental series, contemporary composition systems, contemporary music of Taiwan, taiji, hexagrams, yin-yang, I Ching, Under the Red Eaves, Chung Yiu Kwang, serial technique

Abstract: W. Lutosławski (1913-1994) was an outstanding Polish composer, one of the inventors of the principle of limited (controlled) aleatorics. In his symphonic music, aleatoric and sonoric types of material interact with the thematism of the traditional type. The article is devoted to the analysis of this interaction and the identification of the dramatic role of non-traditional thematism in the musical form. The Third Symphony (1983) serves as the research material. The author of the article characterizes the expressive possibilities of aleatorics of the texture, identifies two types of sonorism, and also describes 8 types of traditional thematism used in the symphony. The "dialogue" of the two main pitch structures in the epilogue of the symphony is traced. The study allows us to conclude that non-traditional thematism prevails in the introduction and in the first part, i.e. where different types of material are exposed. On the contrary, in the second part of the symphony, the personal principle intervenes in the organization of the thematic process. The composer's will, which develops the material, collides it with each other, builds dramaturgy and leads to a certain outcome. And here (with the exception of development), traditional thematism strongly prevails. Awareness of the balance between different types of material leads to the ability to follow the plot of the symphony, which manifests itself not only in the disposition of themes, but also in the interaction of various interval complexes with each other.

Keywords: pitch structure, musical utterance, musical form, the plot of a symphony, contemporary harmony, sonorism, aleatoric music, musical theme, Witold Lutosławski, symphonic process

Abstract: The subject of the research is the concerto for piano and orchestra "Erhuang" by the contemporary Chinese-French composer Chen Qigang (1951). The work, written in the mature period of the master's work, clearly demonstrates an artistically convincing synthesis of national and European musical traditions. Chinese influences are associated primarily with the reliance on the characteristic features of the Peking Opera jingju, French influences are due to the influence of the Impressionist style of Claude Debussy and the principles of musical writing by Olivier Messiaen, whose student was Chen Qigang. The main purpose of the study is to characterize the original features of the Erhuang concerto, due to the combination of influences from the Peking Opera and French music of the 20th century. The concert "Erhuang", one of the most repertoire works in the composer's heritage and a representative example of his style, is considered for the first time in Russian musicology. The main conclusions of the study: the national traditions of the Peking Opera are presented in the concert "Erhuang" on the modal modes (pentatonic scale of zhi), metro-rhythmic (patterns of luo gu dian zi), forma (traditional variations of banqiang ti) and timbre (imitation of the instruments of the Peking Opera ensemble and their tuning system) levels; French influences manifest themselves in a colorful harmonic palette (the influence of Debussy's musical language), as well as in the reception of Messiaen's technique (the theory of additional duration, the method of irregular increase and decrease in rhythm, the principle of motivic combinatorics, the sequential change of modes of limited transposition).

Keywords: Peking Opera, modern Chinese music, Messiaen's Chinese student, lo gu rhythmic patterns, banqiang ti variations, Olivier Messiaen, Chinese musical culture, Concerto, Chen Qigang, Chinese modes

Abstract: The article is devoted to the work of Ivan Glebovich Sokolov (born 1960), which unfolds in many areas of activity, and among them the main one stands out – composer and pianist. Performance directly affects his composer's searches. Realizing the special impact of the music of romantic composers on listeners, I. G. Sokolov changes the focus of his work from a «conceptual» vector to a traditional style of writing. He creates a number of works directly related to the romantic tradition, among them the piano cycle “Gospel Pictures» (2012) stands out, in which the high role of associative links with the heritage of romantic composers (J. Brahms, F. Liszt, S. V. Rachmaninov, A. N. Scriabin, P. I. Tchaikovsky, F. Chopin, R. Schumann). The focus of the article is the intertextual layer in the «Gospel Pictures», which is realized at two levels: compositional and intonational-thematic (quotes, quasi-quotes, allusions), the latter is given special attention in the article. As a result of the analysis, the author comes to the conclusion that the noted material, which is directly related to the musical culture of romanticism, merges into a single whole with the style of the musical language of the piano cycle, forming a «mono-stylistic» (G. V. Grigorieva) musical fabric, which emphasizes the relevance the concept of extending romantic traditions in modern domestic musical culture. At the same time, this perspective of the study confirms the concept of A. V. Mikhailov about the «phenomenon of the omnipresence of romantic music», as well as its «indestructibility» and «immortality» in the process of evolution of musical culture.

Keywords: piano cycle, Gospel Pictures, Ivan Glebovich Sokolov, composer-pianist, romantic traditions, citation, allusion, quotation, intertextuality, prelude

Abstract: The research object is a piano cycle by a Moscow composer Ivan Sokolov About Cage. The author uses the comprehensive approach to reveal the key composition and performance patterns such as the combination of a music and a verbal principles, emphasizing the manifestation of instrumental theatre, the improvisation style, and the synthesis of music idioms typical for both composers  - the one who is the object of the analyzed piano cycle, and its author and performer. The research methodology is based on the analytical method which helps to understand the specificity of Ivan Sokolov’s work in the context of vanguard ideas of American composer-innovator John Cage. The author attempts to compare the composition innovations of both authors so vividly embodying the traits of one of the most popular genres of the late 20th century - instrumental theatre - in their compositions. The article is directed to professional musicians and modern music enthusiasts.

Keywords: stage dramaturgy, fine art, the content of art, musical art, theory of music, philosophy of music, musicology, art history, 20th century music, modern composition

Abstract: The research object is the creative work of a modern Russian composer, a member of the Union of composers of Russia, Vladimir Korolevsky. In 1986 he graduated from Saratov State Conservatoire on a class of the works of professor B.A. Sosnovtsev. From 2002 till 2012 the composer was working as an associate professor at the department of the theory of music and composition of Saratov Conservatoire where he taught composing and theory of music. The research subject is the cyclus “Six children’s songs” for soprano and piano with the lyrics by Boris Zakhoder. The purpose of the study is to detect interrelations between the musical text and the lyrics. To achieve this purpose, the author solves the tasks connected with the analysis of each part of the cyclus from the viewpoint of intonational, tonal and harmonical development. The author comes to the conclusion about the simplicity and naturality of the musical language strictly following the lyrics; that is a continuation of the best traditions of Russian vocal music and a significant part of accompaniment which is not a mere background but the reflection of the content of the lyrics and an individual tonal and harmonical plan of each part.   

Keywords: Saratov, songs, modern composer, contemporary music, vocal cycle, ABC, Zakhoder, Korolevsky, harmony, structure

Abstract: The aim of the article is to study the idiom of Gennadii Vladimirovich Chernov for wind orchestra using the example of the “Oriental fantasy”. The choice of this composer is conditioned by his contribution to the development of Russian music and instrumentation for wind orchestra. His creative activities cover many genres of wind music: march, suite, fantasy, rapsody, ouverture, poem, ballad, concert. In every genre V.G. Chernov created the works accumulating that integrity natural for the best wind scores. The creative activities of Chernov became publicly recognized and widely spread in concert practice. The research technique of the idiom is based on the musicology experience of studying the peculiarities of music thematic invention, harmony, metro-rhythmics, orchestra texture, expressive and shape-generating role of timbre, and interpretation of orchestra means. The main tasks of the research are: to give esthetic evaluation of Chernov’s Symphony #1 ‘Great Russia”; to reveal genre and style features of thematic invention and the peculiarities of its timbre realization; to demonstrate quality changes of the timbre texture; to demonstrate the characteristics of Chernov’s orchestra narration in the interpretation of instrumental means of wind orchestra; to study the continuity character and the deflection of the principles of orchestration of Russian and Soviet music in wind music.   

Keywords: orchestral performance, brass band, orchestration, brass music, orchestral writing, orchestral texture, timbre, composer's creativity, style, coloring

Abstract: The article touches upon some biography facts and creative concept aspects of a Chinese born American composer Lei Liang and characterizes the essence of a range of composition techniques used by him. The purpose of the research is to attract attention to the works of the composer not widely known in Russia. Lie Liang’s life history can be divided into two stages - the Chinese one and the American one. The creative and scientific milieu the composer lived in in China significantly influenced his creative formation. Having acquired music education in the USA, Lie Liang was oriented towards search for new sound ideas, studying the phenomenon of sound, which resulted in the series of sonorist compositions (including the piano cycle Gardens, the compositions “Against Piano” for a piano and two performers, “Lakescape” for two flutes, etc.). The main research methods include the method of historical reconstruction, analysis and comparative analysis. The research methodology is based on the works of Russian, European, and Chinese researchers - M. Vysotskaya, G. Grigorieva, L. Gakkel, C. Kohoutek, Bān Lì Xiá. The scientific novelty of the research consists in the fact that the authors introduce the scope of pieces of music by Lei Liang into the Russian musicology, study his esthetic views which defined the direction of his composing pursuits. The creative worldview of the composer was influenced, on the one hand, by the musical tradition of Asian cultures and Oriental philosophical concepts, on the other hand, - by the principles of thinking of American avant-garde composers of the late 20th century.

Keywords: religious and philosophical ideas, the concept of creative, biography, Chinese music, American composers, piano music, Liang Lei, avant-garde technology, Sonorism, musical composition

Abstract: The article studies the life and creative work of an Italian Renaissance composer Carlo Gesualdo Di Venosa serving as an opera plot. The article considers two opposing views on one of the most mysterious stories - jealousy murder of his wife and her lover committed by the composer. The author considers the issue of the composer’s legacy in new music and the reference to this issue as a cited material. The reason why the composer’s legacy is so significant for the music reflections of the 20th - the 21st centuries is particularly interesting. The author gives numerous examples of Carlo Gesualdo’s music interpretations in the late 20th - the early 21st centuries. The author studies various composers’ positions on the life and creative work of Carlo Gesualdo. The basis of Salvatore Sciarrino’s opera plot is the story expressed by non-verbal  instrumental and sound means by the witnesses to the crime - nocturnal nature, birds and insects.  Luca Francesconi defines his position in a different way. He doesn’t consider Carlo Gesualdo as a murderer, and the morder doesn’t take place. The author arrives at interesting conclusions about the revaluation of music legacy by these two composers: Sciarrino avoids citing choosing an elegy of Claude Le Jeune woven through the opera, while Francesconi electronically dissects the fragments of popular Carlo Gesualdo’s music.  

Keywords: post-serialism, new music, Luca Francesconi, modern opera, Gesualdo considered as a murderer, Salvatore Sciarrino, opera, Carlo Gesualdo Di Venosa, quotation, modern opera house

Abstract: The research subject is the anti-music nature of the Fluxus band’s art projects. The author studies the works of one of the founders and members of the band - American artist Benjamin Patterson. The author demonstrates the specificity of the process of appearance of a pragmatist performance genre out of the musical works of the artist. The article studies the transformation of a concert as a classic way of performing musical works into an anti-concert and then - into a performance. The author considers esthetic prerequisites of these processes in music phenomena of the mid-20th century similar to the Fluxus. Special attention is given to the study of implementation of these phenomena in the first public performance of Fluxus - Wiesbaden concert - and Patterson’s role in its organization. The research is based on the consideration of concert, anti-concert and performances documentation and recollections of the participants. On the base of these materials, the author conducts genre and style analysis of the main forms of artistic activity within anti-music. The author formulates the vision of anti-music nature of Fluxus-movement which in its formation harks back to the classical concert form. The author outlines the key stages of the fluxus-movement evolution from a concert to a performance. The author analyzes the first fluxus concert, Patterson’s role and participation in the formation of the movement, and concludes about genre and style peculiarities of such forms of fluxus art as concert and performance.  

Keywords: Action Art, Wisbaden festival, Ben Patterson, performance, anti-concert, concert, anti-music, fluxus, parody, Neo-Dada

Abstract: The paper studies the multimedia opera genre represented in the works of an Italian composer Fausto Romitelli. The composer passed away at the age of 41, and his last work of art is also a projection of a requiem for the New media age. The author analyzes the plot of An Index of Metals, the process of forming and interrelation between abstract video and music in terms of the peculiarities of the New Media. The article considers the plethora of associations and allusions, manifesting themselves in the multimedia opera, in terms of creative guidelines of the composer. The peculiarity of the genre performance is the transformation of total perception of a spectator diving into the white-hot matter of floating sounds, forms and shapes, with heavy hypnotic influence. The author concludes about the process of genre transformation in which the spectator’s perception goes beyond the limits of a physical body through an alien sound material and the confluence of visual, sound and associative and verbal means of interpretation of the content of An Index of Metals.  

Keywords: abstract video, requiem in matter, total perception, spectralism, Kenka Lekovich, multimedia opera, Paccini, Metal Index, Romitelli, sound matte

Abstract: The research subject is over-citation - the situation when composers use too much citation in one composition. In such cases there can be dozens of citations, and the composition itself (or some its part/completed fragment) is not very long. The share of the author’s material in this case is often minimal or even equal to zero. It’s obvious that this phenomenon raises some serious questions, including: 1) particular forms of organizing the borrowed content within the composition and its interpreting; 2) prerequisites leading to over-citation. To solve these problems one should use the following methods of analysis: intertextual, compositional, style, structure, semantic, hermeneutic and esthetic analysis. It is obvious that using over-citation aggravates the problem of building a composition as a whole. Therefore, in the compositions with over-citation, composers have to search for the approaches which help to organize it by means of 1) selecting the very material of primary sources of citations and their logic of sequence; 2) varying the share of citations. The reasons determining the use of over-citation form two groups: the specific idea of the piece (e.g., its story); the common prerequisites consisting in the chosen genre, the manner of the author’s thinking and finally - the particular type of the composer’s technique. Particularly, over-citation can be one of the manifestations of absurdism. In this case, the fragments of primary sources and their order are selected randomly and can be replaced with some others, and their characteristics (genre background, intonational specificity) are irrelevant (J. Cage’s “Europeras”, M. Kagel’s “Ludwig van”).  

Keywords: composition, semantics, structure, text, polistilistics, collage, hyperquotation, quotation, absurd, dramaturgy

Abstract: Sacred musical compositions play an important role in the intellectual development of a person. At the current stage of evolution of the Russian musical art, there are numbers of compositions of this type. The article considers the rise the orthodox sacred music at the late 20th century. The author considers the attitude of A. Ryndin, a composer from Astrakhan, towards this type of music. The author analyzes the cycle “The three sacred chants”  for the mixed choir a capella and soloists, and considers each item revealing some peculiarities of the correlation between the text and the specificities of the musical dramatic composition. The author notes that the “The three sacred chants” cycle is remarkable for the originality of the composer’s idea combining the traits of various musical styles and techniques, the interaction of various choir patterns (from the classical to the free). At the same time, each particular item (despite the fact that they are united in one cycle) is an integral  and independent piece of art.  

Keywords: spiritual music, spirituality, Alexander Ryndin, theory of music, philosophy of music, musicology, art history, choir cycle, Three spiritual chants, choir texture

Abstract: Instrumental theatre is one of the main genres of musical art of the second half of the twentieth century. It allows to accumulate features of different types of art in one piece of art – music, theatre, literature, painting, and so on. Due to the synthesis of arts, it is very  popular with the public. This article discusses one of the striking examples of the genre — The Second Concerto for Trombone with Orchestra ("don Quixote") by the modern Swedish avant-garde composer Jan Sandström. The author tries to make a complex analysis of the work, the main aspect of which is the interaction of arts, their synthesis and indivisibility. This synthesis is manifested in the change of the status of performers who play musical instruments — now they perform the function of actors, which is illustrated by their movements on the stage, costumes, props, demonstration of voice abilities. Jan Sandström created a unique example of instrumental theatre based on the plot and text of the legendary work by Cervantes.

Keywords: music and literature, art history, modern composition, synthesis of arts, performance, instrumental theater, Jan Sandström, Cervantes, concert, trombone

Abstract: The article considers choral works by He Luting (He Luting, 1903-1999) — a great Chinese composer, musician-theorist, teacher, public figure, who had a considerable influence on the development of musical culture of China, the author of a large number of diverse works for orchestra, piano, and chorus (approximately 48 pieces). He Luting also wrote music for films. There are several works in Chinese focused on his life and work, but there is no such a research in Russian. The choral works by the composer haven’t been given any special consideration both in Chinese and Russian musicology. The first section of the article describes the main biographical landmarks of the composer, the second section analyses the choral works by He Luting. "The Collection of Choral Works" is a collection of twenty-three works written in the forty-four years period, which were collected and prepared for publication by the composer himself. The article analyses themes, features of the performing line-up, composition, musical language, as well as choral texture of the compositions.

Keywords: pentatonic, Shanghai Conservatory, He Luting, choral song, music for choir, Chinese composer, Chinese music, modern music, biography, theory of musical composition

Abstract: The subject of the article is the problem of stylistic synthesis in the works of contemporary composers. Polystylistics pecularities of vocal music by Vladimir Mishle are considered on the basis of the provisions and terms of Evgenia Chigareva’s theory that distinguishes two forms (contrast and mergence) and two types (collage and symbiosis) of interaction between the author's own and"different" styles. In general, the composer's music focuses on the peculiarities of the two polystylistic concepts — collage (inherent in the genre of fantasy characteristicof a number of choral, instrumental works) and symbiosis (prevailing in vocal and choral compositions). The research methodology is based on the theoretical aspects of polystylistics in the works by domestic and foreign scientists, and highlights a mental component of the individual original implementation of the stylistic synthesis. Stylistic modeling is a leading and at the same time poorly explored principle of thinking of composer Vladimir Mishle born in Saratov, which determines the novelty of the research. A vocal cycle to the verses by F. Garcia Lorca exemplifies the author's interpretation of the stylistic symbiosis of polar musical styles and art forms in the context of stylization, allusions, and "variations on the style."

Keywords: cante Hondo, allusion, stylization, the stylistic symbiosis, Lorca, Vladimir Mishle, Polystylistics, variation on the style, style collage, Inside-style relationships

Abstract: The article is devoted to the phenomenon of sound corporality in the creative concept of Italian composer Pierluigi Billone. In the course of study, a continuity of the elements of his creative paradigm is traceable in "sound types of new music" by Helmut Lachenmann and in ideas of the focused point of hearing and "sound vision" by S. Sciarrino. The basic material for the analysis is the instrumental cycle "Mani" to which the composer was inspirited by works of contemporary conceptual artists. The study concludes that there is a continuity of the creative ideas of new music of the second half of the twentieth century in the works by Billone in the twenty-first century, which are objectified within the framework of different instrumentation that uses specific everyday items and objects as percussion instruments. The study applies an integrated approach to the material under consideration. The article will be interesting to specialists in the field of contemporary music and musical performance, it is addressed to professional musicologists, as well as to a wide range of readers interested in the issues of contemporary musical art in general and issues of musical actionism.

Keywords: Charrino, Lachenman, Billone, the solidity of sound, twentieth-century music, modern music, actionism, performing gesture, sound, musicology

Abstract: The subject of this article is the life and creative activity of Aslan Alievich Daurov, a founder of the Circassian Composer School. This name has become a legend for the whole North Caucasus and beyond. The composer accumulated the power and strength of the artistic talent of the Circassian people, as well as their craving for creativity in his music, literary, theoretical and educational works. The titanic activity of the composer reveals features of a personality of historical importance comparable to the largest Circassian enlighteners of the XIX and XX centuries. The article explores the composer's style in the context of the features of traditional North Caucasian and academic European musical cultures. Their intersection identifies the genre, performance, compositional and dramaturgical specifics of music by Aslan Daurov. For the first time the creative work of Aslan Daurov is exposed to scientific reflection. On the basis of the research the author comes to the following conclusions. Song and dance are a genre and thematic platform for the composer's works. They are explored at the level of artistic discovery of Caucasian folk music which can act as a thematic "grain" for academic works. The composer-academician creates his anthology of history and musical culture of the Caucasian peoples using the "signs" of the folk model, but not repeating it. In other words, folklore becomes the only authentic and always contemporary "text of culture" for the composer.

Keywords: cycle, song, Aslan Daurov, academic music, caucasian music, Circassian school of composers, suite, processing, intimacy, pereimenovaniya

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. 

Keywords: modern music, Robert Smith , postmodernism , Dante , programming, symphonic music, form and content, musical image, synthesis of arts, contemporary music

Abstract: The article considers stylistic features of the works by modern Welsh composer Karl Jenkins on the example of the monumental cycle "Stabat Mater". The author analyses the elements of musical language, timbre dramaturgy as means of creation of multiple associative connections. Particular attention is paid to the issues of unity of the author's style in the context of polystylistics. The article highlights the qualitative characteristics of the musical content and traces the patterns of development of thematicism and the principles of form creation. It also demonstrates the peculiarities of polystylistic techniques, the combination of intonational and structural elements of Baroque with the modern genre basis, the inclusion of the ethnic component. To obtain an objective result, the author uses methods of theoretical analysis of thematicism and musical forms, analogy and a method of comparative analysis, systematization of observations and generalization. The main conclusions of the study are the formulated principles of Jenkins' polystylistics at the level of interpretation of the genre, musical language and technique of composition. The article could be of interest to both music scientists and a wide audience interested in contemporary music.

Keywords: Karl Jenkins , polystylistic , sacred music , world music , non-European style, Baroque style, song form, ethnical instruments, modern music , Stabat Mater

Abstract: The object of the research is the instrumenal one-man or one-woman performance, the genre that is attributable to post-modernism aesthetic and comprises the general system of performance genres. The author of the article examines aspects of the synthesis of arts that forms a ritual space of instrumental one-man performance, the balance of music and word, music and event, music and theatre with their decorations and stage requisites. This balance implies transformation of a single instrumental composition into a true theatre action that is based on the principles of theatre but not music. Nevertheless, this theatre effect does not reduce the importance of instrumental compositions such as in compositions by R. Erickson, F. Rzewski, L. Berio, K. Stockhausen and I. Sokolov. The researcher applies the integral approach to studying the matter and bases his research on the integral analysis of particular music-and-theatre works. The majority of compositions are analysed for the first time in the academic literature. The scientific novelty of the research is also caused by the fact that the author defines particular composers' styles and concepts. The main question of the research is why a composer uses theatre effects in his or her instrumental music. As his answer to this question, Petrov offers his theory that theatre effects with the theatralisation of the stage space used by composers (from the word to stage props) are typical for post-modernism composers whose creative work was closely connected with the idea of performance and who wanted to reveal the programming content that is usually hidden in music. 

Keywords: dramatization, concept, synthesis of arts, monospace, performance, instrumental theater, postmodernism, stage dramaturgy, instrumentalism, spatial music

Abstract: The author of the article analyzes time and space in the concept of a French specral school composer Gérard Grisey. The new music does not separate time and space and views time as the way to organize events in the acoustic space. In this regard, space-and-time paradigm is defined by the principle of multidimensionality that is, in its turn, based on the principle of organized unity from the micro- to the macro-space. In the course of her research Lavrova referred to the liminal-thresholod concept of time and space used in specralism and Gerard Grisey's special methodology that was based on natural physiological processes. In terms of the philosophy of those times, the author of the research analyzes Grisey's work 'Tempus ex machina' and defines the coordination axis there. For further analysis, the researcher appeals to the same-name composition of Gerard Grisey and describes relevant rhythmic patterns. The author draws parallels with Moll's information theory and Weber–Fechner law. The final conclusion of the research is that the concept of intra-sound space in spectralism creates a new sound concept that views sound as a life phenomenon. Switch from the 'internal sound' to external factors and transfer from microphonic to macrophonic space allow to present sound as a living creature that goes out of its non-existence and dies when it crosses the border of silence. This reveals Gerard Grisey's special philosophy of life in general. 

Keywords: fractal geometry, space and time, Husserl, internal experiencing consciousness, sound phenomenon, Gérard Grisey, spectral school, new music, Tempus ex machina, time philosophy

Abstract: The article is devoted to one of the most interesting modern genres, instrumental composition with the word that is a type of instrumental theatre. This genre has never before been studied by music researchers, therefore the topic of the article is actual and has a scientific novelty. Based on Russian composers' music (S. Gubaydulina, V. Tarnopolsky, V. Martynov, and N. Korndorf), the author of the article analyses how the word (literary text) is included into the music score of a composition. The author also analyses particularities of the scenic realisation of opuses that combined music instrument playing and text reading. The author of the article uses the integral research approach to the genre that combines instrumental composition and words as a synthesis of music and word in general. The author defines the degree of interaction between literary text and music and offers his own classification of texts. He concludes that the genre of instrumental composition with the word will soon become of the main genres in music because it implies a clear declamation of a message or idea even through a purely instrumental opus. 

Keywords: performance, instrumental theater, instrumental composition with the word, Russian composers, contemporary music, synthesis of arts, literature and music, S. Gubaidulina, V. Martynov, N. Korndorf

Abstract: One of the most popular method used in music of the second half of the 20th - beginning of the 21st centuries is the aleatory technique when music is composed by using random interaction. Form making is one of the main problems that arise when the aleatory technique is being used. Moving and uncertain, aleatory form required certain rigidity and determinancy at minor and major levels. In such compositions, form making function is performed through pitch or rhythmic organisation, dramaturgical patterns or other constructive forces or factors that influence the form and give it a single structure. Noteworthy that the aleatory composition technique is often combined with the principle of organising numbers that is widely used by many authors. Aleatory forms managed by organising numbers are typical for Cage, Stockhausen or Gubaydullina. These composers used all kinds of number sequences and groups that are viewed by the author of the present article. 

Abstract: The article is devoted to one of the leaders of music vanguard of the post-modernist epoch – John Cage. The author considers the ways of aleatoric design of his scores and the principles of indeterminism typical for many opuses of the composer. The author analyzes the most important Cage’s works in terms of the principle of aleatorics: «Music for Changes», «Seven Haiku», «Music for Carillon № 1», «Music for Carillon № 2», «Music for Carillon № 3», «Music for Piano», «Solo for Piano», Concerto for Piano and Orchestra, «Fontana Mix», «Aria», «Variations I» и «Variations II», «Etudes Australes». The key methodological approach to the material under study is the contextual approach implying the study of the composer’s legacy in the context of dominating techniques and styles of the second half of the 20th century. The scientific novelty of the study consists in the analysis of the principles if aleatoric organization of music structure of Cage’s works. On the basis of this analysis, the author believes it is possible to speak about the contextual nature of the composer’s opuses; to conclude that his compositions are symbolic in the distribution of aleatoric notation and in the consolidation of indeterminism as an important component of designing musical scores in the second half of the 20th century. 

Keywords: performance, musicology, music of the 20th century, score, innovation, postmodernism, synthesis of arts, aleatorics, indeterminism, John Cage