Abstract

A characteristic feature of the modern era is the penetration of the aesthetic in all spheres of cultural space. At the same time throughout the process unfolds dissolution of art in everyday life, its ‘desecration’ and ‘dizaynizatsiya’. In these circumstances, the music as “Lullaby name of all art”, is particularly sensitive to the counter trend of modern era. On the one hand, the all-pervading power of music has led to unprecedented sound environment era - in strength, ambiguity, and information richness of the audio stream. Such large volumes of musical memory is not known in history. On the other hand, the music loses its limits: lofty and low, author`s and borrowed, art and non-art, musical and non-musical. It no longer refers primarily to the hearing, but reveals the dependence on visual perception tuned to the shaped concrete, material nature, tangibility. So, it may be treated as a ‘non-musical’ era. However, penetrating the whole vertical culture and joining into the situation of “mixing genres”, music is able to perform the function of a universal language, combining multidirectional processes of era with a mood of sensitivity to the processes of life.