Music Society Research Articles

Publishing Preparation, Experiences, and Expectations of Music Education Faculty in Higher Education

The purpose of this study was to explore research and publishing preparation, experiences, and expectations of music education faculty members employed at higher education institutions. We developed the Publishing Preparation and Expectations Survey (PPES) to examine music education faculty members’ current areas of research, peer-reviewed journals they read and published in, and their experiences with peer reviewers. Utilizing the Directory of Music Faculties from the College Music Society, we distributed the PPES to 1,081 music education faculty members across 487 higher education institutions in the United States, resulting in 179 responses. The participants self-reported as predominantly White ( n = 157, 87.7%), female ( n = 101, 56.4%), and possessing a PhD ( n = 145, 81.0%). Additionally, 83 participants (46.4%) initially submitted a research article for publication in a peer-reviewed music education journal during their doctoral programs. Participants anticipated publishing an average of 11.44 articles ( SD = 8.89) for promotion to associate professor and had an average of 9.81 ( SD = 11.02) peer-reviewed research articles previously published. Finally, participants shared their experiences with peer reviewers using descriptors such as “discouraging,” “harsh,” and “cruel.”

The theatrical orchestra and the formation of symphonic performance in Kharkiv

The purpose of the publication is to define the specific characteristics of the functioning and role of the theater orchestra in the formation of symphonic performance in Kharkiv. The methodology. In the process of understanding the phenomenon of the Kharkiv Theater orchestra, a historical approach was applied, which allowed for the chronological reconstruction of the musical ensemble’s functioning. Additionally, a comparative analysis method was used to identify the unique features of the orchestra’s instrumental composition, repertoire development, and performance practices. The results. The specific functioning of theatrical instrumental ensembles in Kharkiv, which provided musical accompaniment for performances from the 1770s to the early 1870s, was examined. The study identifies factors that led to the establishment of a permanent “Orchestra of the Kharkiv Theater and Commercial Club”, which, besides performing in the theater, also served city artistic events from the mid 1840s to the 1870s. Key factors include the return of the Kharkiv Theater to private management in 1867, the activities of K. Vilboa from 1869 to 1873 aimed at creating a concert instrumental ensemble in the city, and the emergence of a new orchestra under the direction of G. Grazia in the Kharkiv Drama Theater in 1872. These developments facilitated the organization of symphonic concerts under the aegis of the Kharkiv branch of the Russian Musical Society from 1871. The scientific novelty lies in the determination that the primary source of symphonic performance in Kharkiv was the permanent orchestra of the Kharkiv Theater, active since the mid XIX century, whose instrumental and numerical composition met the demands of the provincial musical practices of that time. The conducting activities of K. Vilboa in Kharkiv during the late 1860s and the early 1870s were a driving force behind the formation of two orchestral ensembles in the city — the theater and club orchestras — whose instrumental and qualitative compositions aligned with the principles of symphonic performance. From 1871, in preparation for symphonic concerts by the Kharkiv branch of the Russian Musical Society, the theater and club orchestras were combined, each consisting of 20–30 musicians, ensuring that the symphonic orchestra met the required academic standards in terms of instrumental and numerical composition. Future research prospects are associated with identifying the specifics of symphonic performance in the cultural centers of Ukraine from the second half of the XIX century to the early XX century.

Nurturing Creativity and Talent in After-School Musical Societies under the 'Double Reduction' Policy in China

In 2021, China issued the "Opinions on Further Reducing the Homework and Off Campus Training Burden of Students in Compulsory Education". This title highlights the element of innovation within after-school musical societies in Nanjing's primary schools, showcasing their ability to adapt and find creative solutions within the constraints of the 'Double Reduction' policy. This paper examines the after-school musical societies in three primary schools in Nanjing within the context of the 'double reduction' policy. Through questionnaire survey and interviews, it aims to explore the current state of these societies and identify the challenges they face in their establishment.

Reflections at the front entrance: from the history of music in Russia

RELEVANCE. The study is a brief outline of the initial stage of the formation of a regional system of professional music education. Various aspects of this process are considered, facts and examples are given that characterize this system based on the activities of the Tambov branch of the Imperial Russian Musical Society. The goal is to substantiate the thesis that the regional tradition of public education inherits the best features of the domestic system of professional music education.MATERIALS AND METHODS. The material obtained through analysis, generalization and systematization of the results of research at the initial stage of the formation of the regional system of music education in the Tambov region is presented.RESULT AND DISCUSSION. The connection between the regional system of music education and public education and all-Russian and all-European cultural trends and traditions is traced. The main aspects of the work of the Tambov branch of the Imperial Russian Musical Society are highlighted, corresponding to the general liberal direction of social thought of the mid-19th – early 20th centuries. The sociocultural context of the early twentieth century is reconstructed, justifying the installation of busts of M.I. Glinka and A.G. Rubinstein in the niches of the memorial building of the Tambov Music School, now the Tambov State Music-Pedagogical Institute named after S.V. Rachmaninov.CONCLUSION. The presented material is intended for wide use in the practice of promoting regional cultural heritage, primarily excursion and tourist support for cultural and leisure programs.

The British (and International?) Music Society: Australian Identity and Musical Internationalism in Interwar Sydney

Abstract In the aftermath of the First World War, Henri Verbrugghen founded the first Australian branch of the British Music Society. The BMS – a product of post-First World War cultural renewal – was established in London to ‘champion the cause of British composers at home and abroad’. In Sydney, these aspirations extended to promoting music from Australia, and through affiliation with the International Society for Contemporary Music, music of the rest of the world. This article explores the activities of the Sydney BMS, situating these within contemporary discourses of nationalism and internationalism in the construction of interwar Australian cultural identity. It argues that the sometimes conflicting aims of the society reflect a wider political and social ambivalence about Australia's place in the international landscape. While its primary goal was to champion local composers, this was held in uneasy balance with a desire to promote British music ‘proper’.

В. М. Металлов — священник, ученый, педагог

This article presents the experience of working in the genre of scientific biography of an outstanding representative of Russian culture at the turn of the XIX–XX centuries, priest Vasily Mikhailovich Metallov, who combined church service with scientific and pedagogical musical activity (to a lesser extent, composing).V.M. Metallov has come a long way from a provincial rural priest to the rector of the Kazan Church on Red Square in Moscow. Developing the talent of a research scientist, he achieved great results in the field of studying ancient Russian church music history, set forth in a number of fundamental works. In his extensive pedagogical activity, he sought to transfer his scientific knowledge to students of spiritual and secular educational institutions in Saratov and Moscow: the Saratov Theological Seminary, the Synodal School of Church Singing, the Moscow Conservatory of the Russian Musical Society, the Archaeological Institute.The central place in the secular ministry of V.M. Metallov was occupied by the Moscow Conservatory. In it, he continued the tradition of teaching the spiritual and musical training course «The History of Church Singing», the founder of which was Archpriest Dimitri Vasilyevich Razumovsky, and the successor Stepan Vasilyevich Smolensky. By his works and trying to preserve the presence of the spiritual and musical subject in the conditions of the reformation after 1917 of pre-revolutionary musical education at the Moscow Conservatory, V.M. In this way, he preserved the foundation, which in the future allowed the interest of musical researchers to revive in the national «monument» — the ancient Russian church music art.The article observes the chronological outline of the biography of V.M. Metallov, supplemented by a number of little-known details and documentary evidence discovered during the study of archival materials and documents.

Review: The Germania Musical Society in Newport, RI

Review: The Germania Musical Society in Newport, RI

Nurturing Creativity and Talent in After-School Musical Societies under the 'Double Reduction' Policy in China

Nurturing Creativity and Talent in After-School Musical Societies under the 'Double Reduction' Policy in China

«ТРИ ЧЕТВЕРТИТОНОВЫЕ ПЬЕСЫ» ЧАРЛЗА АЙВЗА: ЧЕРТЫ НОВАТОРСТВА В ТРАКТОВКЕ ФОРТЕПИАНО

The article is devoted to studying the music of one of the founders of American national music, Charles Ives (1874–1954). Charles Ives was an outstanding American composer, organist and Pulitzer Prize winner. In the context of traditional music, Ives’s piano style gains freshness and innovation through the use of modern writing techniques. On the example of Three Quarter-Tone Pieces for piano (1925), the article traces exactly how traditional and innovative compositional features are reflected in Ives’s work. In these pieces, the composer imposes a new technique of quarter-tone writing based on microtonal and microchromatic intervals. In addition to innovative compositional techniques, Ives employs traditional techniques such as symmetrical episodes, palindromes, whole-tone scales, quotations from American and French national anthems and patriotic songs. The theoretical material used for the publication is the composer’s article “Some Quarter-Tone Impressions”, an important document in which Ives gives a theoretical justification for his innovative quarter-tone system. The article was first published in March 1925 in the Franco-American Musical Society Bulletin. Ives’s article has never before been published in Russian.

THE SYNERGY OF ART AND TECHNICS: DEVELOPMENT DIRECTIONS OF MUSICAL INFORMATION TECHNOLOGIES

This article explores contemporary trends in the development of music information technologies, which refinement constitutes a key factor in the advancement of the music industry. The paper analyzes the advantages and challenges associated with these trends, while also forecasting potential directions for the future development of music information technologies. With an interdisciplinary approach at the intersection of musical art and information technologies, the research highlights the impact of modern technologies, the evolution of microelectronics, computers, and artificial intelligence on music creation and music education. Specifically, the transformation processes of physical sound devices into a virtual dimension are examined. The authors propose a definition of the concept of music information technologies as a symbiosis of information technologies and musical art. In other words, music information technologies are information technologies that address, work on, or influence processes within the field of musical art. The authors conclude that studying the issues related to the functioning of music society created through music information technologies is a promising direction in musicology, music education, and related fields. Based on the analysis of Music Information Technologies trends, it is noted that manufacturers of musical equipment and software developers are gradually transitioning to electronic versions of documentation and video tutorials. Trends include an increase in the number of music file formats, higher sampling frequencies, and the resolution of musical digital systems. The authors highlight the development of specialized digital workstations and other software compatible with general standards but specialized for specific individual physical devices or controllers. The article also anticipates the creation of new methods for controlling musical instruments and devices, widespread use of cloud technologies, and artificial intelligence.

Bohdan Antkiv's Contribution to the Development of Musical Art of Galicia in the Second Half of the Twentieth Century

The purpose of the work is to systematise and give a comprehensive assessment of the musicological and compositional heritage of Bohdan Antkiv, his cultural and educational, musical activities in the context of the processes of professionalisation of Ukrainian musical art of Galicia in the second half of the twentieth century. The methodology of the research is to apply the following methodological approaches: analytical, systemic, historical and musical. Scientific novelty of the work. For the first time a thorough analysis of the musical activity of Bohdan Antkiv was carried out, the contribution of the artist to the musical art of Galicia of the second half of the twentieth century was characterised. Conclusions. Bohdan Antkiv is a music artist who crosses the line of amateurism and achieves success and recognition in professional music art Ternopil and Lviv regions. He participated in rural amateur groups and circles in early years, led by his father, Mykhailo Antkiv. The musician obtained a professional music education, studying at conducting courses at the Ternopil branch of Mykola Lysenko Lviv Music Higher Institute, and later at the Conducting Faculty of Mykola Lysenko Lviv State Conservatory. He successful conducted activities in the children’s choir of the society ‘Prosvita’ local unit, in the singing and music society ‘Torban’, in the choir of the T. Shevchenko youth organisation ‘Sokoliata’, in the mixed choir of Ostriv village, which won the Regional Choir Competition in Lviv, in the choir group of the song and dance youth ensemble ‘Cheremosh’, which acted at I. Franko Lviv State University. Bohdan Antkiv also started a brass band in Ostriv village. The article also traces composer and arranging activities. Keywords: Bohdan Antkiv, musician, conductor, choirmaster, composer, musical art, Ternopil, Lviv.

Przemyskie obrady VIII Zjazdu Związku Muzeów w Polsce, 18–19 września 1932

The 8th Convention of the Association of Museums in Poland on 18-19 September 1932 in Przemyśl On 18-19 September 1932 in Przemyśl, on the initiative of Kazimierz Osiński, head of the National Museum of the Przemyśl Region, the Association of Museums in Poland organized the 8th Convention of the Delegates of the Association of Museums in Poland. 40 participants from all over Poland took part in the convention: representatives of museums, conservators and ministry officials. During the meeting, current museological issues were discussed, e.g. problems and concepts of a regional museum (Rules and Regulations of the Regional Museum Section were adopted) and protection of sacred monuments. The major point on the agenda, however, was passing a bill of the law on protection of public museums and an executive directive to that law. Papers were delivered by delegates Józef Kupka, Jan Lauterbach, Rev. Stefan Momidłowski and Kazimierz Osiński. The Convention was complete with a concert of the orchestra of the Przemyśl Musical Society and a tour of the town’s museums and monuments (the National Museum of the Przemyśl Region, the Diocesan Museum and the Krasiczyn Castle). The event considerably enhanced the reputation of Przemyśl in the Polish museum world.

The specifics of vocal training and pedagogical activities of S. Yu. Motte at Kharkiv Music School (1885–1901)

The purpose of the publication is to determine the specifics of vocal training in S. Yu. Motte’s singing class at Kharkiv Music School as a functional structure of the Kharkiv branch of the Russian Musical Society (RMS) during 1885–1901.
 The methodology. Since the specifics of the functioning of vocal art at Kharkiv Music School during 1885–1901 is examined in the scientific discourse for the first time, the methodological basis of the article is the method of comparative analysis, the application of which made it possible to reveal the peculiarities of professional training and further professional self-realization of pupils of S. Motte’s singing class. The determination of S. Motte’s approaches as a vocalist-pedagogue to the development of the voice was carried out on the basis of the analysis of the performing practice of her students within the framework of the application of systematicity principle.
 The results. On the basis of analysis of music reviews in the Kharkiv press during 1877–1901 and reports of the Kharkiv branch of the RMS, both the level of S. Motte’s vocal mastery, which became the foundation for understanding the methodology of working with a voice and the teacher’s professional approaches to vocal training of the students of Kharkiv Music School, are investigated. The basis of the generalizations was the analysis of the repertoire performed by S. Motte and her students Y. Reider, M. Mykhailova, M. Poliakova, L. Kurochkyna, and others at public events as the material that was used to study the singing voice. The article highlights the role of S. Motte in understanding the professional requirements for a vocalist graduating from Kharkiv Music School; she formalised the content of the vocal qualification exam.
 The scientific novelty. It is proved that during her teaching activities at Kharkiv Music School, S. Motte showed her pedagogical talent, educating specialists capable of successfully conducting vocal performance and pedagogical functions at a sufficiently professional level within a certain period and the regulated educational process. Such a level of education was ensured by studying the voice on musical material, which consisted of instructional texts and chamber repertoire popular on the concert stage, which provided the technology of vocal training and mastering the culture of singing, and European opera music as a criterion of vocal mastery.
 The practical significance. Clarifying the logic of the formation and functioning of certain signs of professional voice reproduction of a musical text within certain chronological and cultural boundaries will contribute to the improvement of the process of understanding the phenomena of the musical culture of Kharkiv on the one hand, and of the vocal art of Ukraine on the other hand.

Addressing the lack of Asian Composers and Administration in Western Classical Music

Western classical music is a significant cultural tradition that has been in practice and of scholarly interest in the past millennia. In the past century, there has been an emergence of Asian performers and composers in the classical music industry. Currently, classical Asian musicians make up 9% of the musician population despite comprising 6% of the national population (Hernandez, 2021). In our paper, we will dive into the extent of influence of Asian music on the West, as well as the presence of Asians in a Western Classical music context and the expression of their identities. Analyzing different representations of Western music in Asian context in the past centuries have shown these compositions to be merely cultural reproductions and rather simplistic than genuinely representing Asian identity. Although a handful of composers have shown hope in carving a space for Asian innovators, such as Tan Dun and Toru Takemitsu, the greatest barriers arise from the lack of Asian figures in administration and positions of power in the classical music society. It’s vital for Asian students to be offered classes on not just the development of Asian music and its prominent artists, but also on the social and cultural context in which world music developed. Organizations, such as the Music of Asia America Research Center, should be incorporated into music school curriculum in order to strengthen the identity of asian musicians and create a community where they can prosper.

Primorsky Musical Institute in the history of the development of academic music in the Far East (1923-1924)

The article examines the activities of the Primorsky Musical Institute (1923-1924), which contributed to the development of academic music in the Far East in the post-revolutionary period, associated with the liquidation of the "buffer state" of the Far Eastern Republic (FER, 1920-1922) and its accession to the Russian Soviet Federative Socialist Republic (RSFSR). Through the prism of historical documents and archival materials, the factology of which did not fall into the analytics available today, corrective information is introduced into music science, which, on the one hand, forms an up-to-date view of the activities of the Primorsky Musical Institute, in terms of preserving traditions, paying attention to successive ties with the Imperial Russian Musical Society (RMO / IRMO), which played a special role in organizing the musical life of the country, and the Far East during the period of Imperial Russia. On the other hand, he names the reasons why the closure of the Institute led to the impossibility of the historical continuation of the forward line of development laid down by the IRMS in the Sovietized post-FER period. Contextual study allows the fact of the emergence of the Primorsky Musical Institute in Vladivostok to be comprehended as a consequence of the inertially preserved organizational work of the Vladivostok branch of the IRMO (1909-1917), which opened a music school at the Department, and then established a music school at the RMO (1917-1922).

Robert Heller’s Magical Mystery Tours

Robert Heller, a virtually unknown figure in music-historical accounts, trained in the 1840s at the Royal Academy of Music in London and gave the American premieres of Beethoven’s Fourth and Fifth Piano Concertos with the Germania Musical Society. But he also pursued a parallel career in theatrical magic, using his musical virtuosity to elevate his social and artistic stature as a conjurer. Between 1852 and 1878, his magic act was seen by millions in Europe, East Asia, and the United States, including states and territories in the American West never visited by contemporary piano virtuosos like Thalberg and De Meyer. While magicians routinely incorporated music in their acts, Heller’s virtuosity set him apart from his conjuring peers, including those who were themselves musicians. Using his musical expertise, he blended the magic show with other popular forms of spectacle, including minstrelsy, burlesque, and the piano recital, framing the latter as an extraordinary attraction. Advertisements and accounts of his performances reveal the marketing strategies Heller employed to negotiate the crowded landscape of consumer culture and American popular entertainment, especially during the tumultuous years of the Civil War. These strategies included co-branding, altering the titles and descriptions of musical compositions (particularly “Dixie”), and joining forces with “Blind Tom” (Thomas Greene) Wiggins, the Black, enslaved musical prodigy whom Heller had briefly tutored; they performed together in Louisville during one of the magician’s last appearances in the South. Throughout the 1860s, Heller was influenced by gendered musical practices and regional attitudes toward race and politics, leading him to market his act specifically toward middle-class women, music lovers, Unionists, and those seeking postwar reconciliation.

Estrategias de desarrollo e inclusión social a través de la cultura Las sociedades musicales de la Comunidad Valenciana y El Sistema de Abreu en Venezuela

Dentro de los modelos de desarrollo, el arte y la cultura desempeñan un papel relevante en los procesos de inclusión social. Como actividad comunitaria, la experiencia musical muestra un gran potencial para fortalecer los vínculos personales, grupales y comunitarios. En este artículo profundizo en el papel de la interpretación colectiva de la música y el desarrollo de la comunidad, desde una perspectiva sociológica de la práctica de la interpretación en grupo. Para ello me centro en dos realidades diferentes que comparten este mismo fundamento: el Sistema de Orquestas y Coros Infantiles y Juveniles de Venezuela, fundado por José Antonio Abreu en 1975, y el fenómeno de las sociedades musicales de la Comunidad Valenciana (España). En ambos ejemplos, la práctica colectiva de la música genera el crecimiento personal y la integración social de quienes participan en estos proyectos. Fomentan la integración en el grupo y el trabajo en equipo como base de su acción pedagógica y social. En ambos casos, articulan sistemas pedagógicos en los que se desarrollan las habilidades de los participantes para poder practicar y disfrutar de la música en grupo dentro de la comunidad.

On the Pedagogical Priorities of Teachers-vocalists of the Initial Period of Activity of the Saratov Conservatory

The object of this study is the initial period of activity of the Saratov Conservatory; the subject can be called the pedagogical priorities of vocal teachers of this period under consideration. In the article, based on rare archival data, surviving printed evidence, and student memoirs, an attempt is made to restore the pedagogical priorities of the most famous and influential in the musical circles of Moscow and St. Petersburg, active participants in concert events of the Imperial Russian Musical Society: Mikhail Efimovich Medvedev - the first performer of the role of Lensky in the opera P. I. Tchaikovsky's "Eugene Onegin" and Alevtina Mikhailovna Paskhalova, who embodied the image of the Snow Maiden in the opera of the same name by N. A. Rimsky-Korsakov. The scientific novelty of the study includes the fact that the author identifies and for the first time introduces into scientific circulation data on the pedagogical priorities of the most prominent vocal teachers who have made a significant contribution to improving the educational process of the department of academic singing. It is revealed that the pedagogical priorities of M. E. Medvedev and A. M. Paskhalova include: a fairly low type of breathing, increased attention to developing a sense of support for sound, a cautious attitude towards the development of the full range of the voice, the development of clear diction, evenness of sound production, smoothness of register transitions; soft sound attack; the ability to qualitatively vocalize various dynamic gradations of sound; the use of the “concentric” teaching method in the pedagogical process, increased attention to the education of the emotional and dramatic component of the performer’s personality. The analysis also showed that the features that distinguish the pedagogical views of the professors of the initial period of the Saratov Conservatory include the use of the repertoire of Russian composers in class work with a beginning singer.

The Role of patrons in the activities of the Galician musical society in Lviv in 1838–1914

Relevance of the study. The issue of public patronage in musical, cultural, and educational societies, and in particular in the Galician Music Society, unfortunately, has not received proper scientific coverage in the modern art historical and humanitarian discourse. The functioning of various societies as a respectable and prestigious institution depended on the human potential of its active and helpful members.
 The purpose of the study. The purpose of the presented study, based on archival sources, documents from the private archive of Leszek and Teresa Mazepа, is to identify the role of patrons in the activities and development of the Galician Music Society.
 The research methodology has a complex interdisciplinary nature and is based on the combination of the principles of cultural, art history, historical, aesthetic, archive-bibliographic, sociological, comparative research.
 The results and conclusions. Based on archival documents, the article analyzes and systematizes the structure of the Galician Music Society, identifying its active, auxiliary, and honorary members, patrons, and the composition of its directorates and supervisory boards. On this basis, the role and importance of patrons in the activities of the GMS is presented. The democratically organized GMS brought together representatives of different nationalities and animated the musical life of Galicia. The number of full (active) members primarily determined the concert-performance, educational and outreach activities of the Society, as they constituted the main artistic and pedagogical core of the Society. The members who surrounded it with their patronage (patronage) were the auxiliary members. Among them were representatives of various social and national strata: aristocrats, officials of various levels, intellectuals (professors, teachers, doctors, lawyers, writers, artists, etc.), clergy, bourgeoisie, merchants, and landowners. The auxiliary members provided the GMS with material (in the form of material and monetary donations, scholarships, and donations) and organizational support, appropriate external representation, and even its social status. Thanks to the supporting members, the cultural policy of supporting and promoting the artistic activities of the important music center for Galicia, which was the GMS, and preserving its positive cultural impact on society was implemented. Thanks to its supporters, the GMS was able not only to develop its artistic activities and expand its infrastructure, but also to strengthen its reputation and become competitive in the field of music distribution. Thanks to their help and patronage, the GMS has been able to develop its activities, build its reputation and become competitive in the field of music distribution.

Mykola Tutkovsky: polyphony of artistic roles

Relevance of the study. The proposed research is determined by the realities of the musical society, they are characterized by the active inclusion of collective listening acceptance in the creation of modern musical projects. The lack of a musicological base determined the strategy of understanding the process of communication in music in the perspective of the achievements in the current communication theory. The ideas of the theory of communication developed by American and Canadian scientists Marshall McLuhan, Harold Innis, and John Durham Peters became the theoretical support of the presented considerations. Communicative strategies of the Socratic-dialogic and evangelical-dispersive type receive scientific approval in the research in the musical and communicative sphere.
 Main objective of the study is to substantiate of the hypothesis about the nature of musical communication as an act of collective (composer, performer, listener) sound-intonation intentionality, where the creativity or passivity of the reaction of the collective listener directly depends on the performance creativity. The discursive understanding of the role of the collective listener in music is carried out using the complex methodology of scientific knowledge, which combines the methods of theoretical generalization, discourse analysis, comparative studies and empirical observations.
 Results. For the first time, the definition of musical communication is formulated as a process that unites its participants with the desire (conscious or not) of spiritual development by immersion in acts of musical and intonation creation. Emphasis is placed on the function of individual intentionality of the musical and performing component in communicative processes. The author's definition of an individual musical and performance style as a system of expressive means corresponding to the specificity of the performer's musical worldview has been spread. This system, while maintaining its integrity, functions as a supporting factor for the re-intonation of various compositional styles and a guarantor of auditory co-intonation in musical communication processes. Empirical testing of the theoretical generalizations presented in the proposed research is based on the personal professional experience of the author.