Abstract: Chamber vocal writing in the composer’s creative development is a border line between conceptual art and «simple writing» (I. Sokolov). As to the author, the above mentioned work is the epitome of transitional period between the two. While using the poet’s text the composer finds the manifestation of his own ideas. I. Sokolov is choosing a very special text where the Word is meant to leave behind the language connections that exist for centuries and give way to the new shades of meaning. The author of the Music follows the Poet preferring settled «idioms» but puts those into new contexts. Later this practice led I. Sokolov to composing beyond the poetic text. Problems set in this paper presume certain methodology of humanitarian scholarship including traditional musicological, linguistic and other methods used in the humanities. Present research introduces the attempt of understanding and interpretation of A. Vvedensky’s verses chosen by I. Sokolov with a special focus on the realization of the poet’s ideas through musical texture. The paper’s author makes comparison of Vvedensky’s and Sokolov’s compositional technique based on the principle of associative game.

Keywords: I. Sokolov, A. Vvedensky, experiment, associative game, meaning creation, epitome of romantic period, polystylistics, «simple» style, «clear» music, «order of zaum poets»