Review: The name of the St. Petersburg composer Yuri Alexandrovich Falik is known both in Russia and abroad. He has created a large number of compositions in different genres. Falik pays considerable attention to choral music. His choral legacy is represented by a wide range of genres. These are miniatures, a choral concert, a poem and a choral cycle, Orthodox hymns and a Catholic ordinary mass. The range of the composer's poetic preferences is also rich. Falik refers to the poems of A. S. Pushkin, M. Y. Lermontov, A.A. Tarkovsky, A.I. Solzhenitsin, N. A. Klyuev, A.A. Akhmatova, N.S. Gumilev and M.I. Tsvetaeva. The article discusses the peculiarities of the implementation of the content of M. Tsvetaeva's poems by musical means in the choral concert "Trinity Day" by Yu. Falik. Starting from the folklore motifs embedded in the poems, Falik creates stylizations referring to Russian drawling songs, ditties, and the dialect characteristic of the folk tradition. The composer uses variation of melodic motifs, rhythmic variation, combines natural-fret means and chromatics, uses such techniques as choral staccato, glissando, imitation of instrumental tunes, introduces ostinate layers of sound. It is established that the composer managed to find such structural, melodic, rhythmic techniques and musical means that not only illustrate the content of the poems, but also reveal its new facets.

Keywords: choral concert, Yuri Falik, Trinity Day, Marina Tsvetaeva, folklore tradition, music of the XX century, musicality of poetry, chorus, poetry and music, choral music

Review: The article is devoted to the application of new technologies of the digital era in modern opera. The phenomenon of cybernarrative is analyzed, which creates special forms of representation of a conditional plot in an opera theater, or representation of the main idea. As a special form of cybernarrative, an analysis of the instrumentation and fundamental ideas of the Brain Opera by American composer and inventor Tod Mahover is proposed. This experimental composition combines both conceptual ideas of comprehending the basics of human thinking and attempts to present brain impulses as musical material that makes up the stochastic variable composition of the opera. Special attention is paid to interactivity, in which the listener pre–communicates with various interfaces - electronic toys that allow him to develop his creative energy and see it as an element of composition in the Opera of the Brain.    The conclusion from the conducted research is that the idea of a cybernarrative has become fundamental for the project, which has received a cybernarrative representation. The treatise of the famous cognitive scientist Marvin Minsky "Community of the Mind" and the element of creative energy of the recipient – visitor of the sound installation serve as the basis of the narrative, while the plot of the libretto itself is conditional and it is hardly read through the journey through the so–called "wilds of the mind". Modern opera uses cybernarrative as a communication system, in the field of which all the latest technologies are included. At the same time, the content of the opera is blurred, which turns out to be variable. There are both positive and negative sides to this: the involvement of the public in the creative process, which Tod Mahover strongly encourages in his concept of the Brain Opera, helps to overcome passive perception, however, the composition ceases to be a complete form and turns into an open work – work in progress.

Keywords: cyberspace, biocontrol, biofeedback, hypercello, Brain Opera, modern theater, cybernarrative, new technologies, modern opera, Tod Mahover