Abstract: The subject of the study is Maurice Ravel's "Spanish Rhapsody" arranged for two pianos. The purpose of this article is to consider the genre features of the work, based on the refraction of the principles of rhapsody and suite. The performing means used by the composer in the implementation of the program idea of the work are also of research interest. The methodology of this study was made up of holistic and comparative approaches to the study of a musical composition. The novelty of the article lies in the fact that the study generalizes and concretizes the features of form formation in the work, which contributes to the study of the composer's creative method, the study of his peculiarities of working with cyclic forms. In the course of the study, the author comes to the conclusion that in M. Ravel's "Spanish Rhapsody" the features of directly rhapsody are reflected, expressed as a comparison of contrasting folklore layers in a single whole, features of suite, expressed in a generalized interpretation of Spanish imagery on the one hand and the composer's appeal to the genre models of a baroque dance suite, on the other. In addition, the suite principle in the structure of the form of the work is embodied in a specific impressionistic refraction of the genre features of Spanish dance folklore in each of the parts of the form.
The obtained results of the work will contribute to the conscious interpretation of M. Ravel's "Spanish Rhapsody" arranged for two pianos from the point of view of the principles and laws of shaping and pianistic means of impressionistic expressiveness in the expression of Spanish images in music.

Abstract: This article explores the creative instrumental works of the modern Russian-Israeli composer Ilya Heifetz. His life and creative experience have two definite stages: one in Russia before 1991 and the other in Israel, each marked by the challenge of reconsidering his national roots in his personal life and artistic work. One of the examples of addressing this problem in Heifetz’s compositions of the Soviet period is his violin concerto. In this research, the author considers the composer’s combination of academic genre patterns with the intonational and structural peculiarities of Jewish folklore as an effort to comprehend his own national identity. Through the intonation and thematic analysis of the concerto, as well as the composer’s personal letters, it can be concluded that the piece contains a hidden message that addresses the history of the Jewish people and their national character, reflecting the unique peculiarities of Russian Jews as they attempt to understand their own national identity. As the main characteristic of this subethnic group is the Russian language and Russian culture perceived through it, the author of this article focuses on how the peculiarities of the Russian composing schools manifest themselves in this piece of music based on Jewish intonations and genres.