Music and Time Annotation << Back Performing intellectualism in the context of the interpretation of music of the second half of the 20th century N.N. Nekrasov The second half of the 20th century in the history of musical art is a huge complex of composing, performing, pedagogical achievements and opportunities: numerous musical works are published, master classes on the performance of modern music are held, specialized faculties are organized in various universities. For all the versatility of the current musical palette, modern works, in most cases, are inaccessible to a wide audience. Such introversion is due to the versatility of the musical language and the depth of artistic meanings synthesized into modern musical canvases. Obviously, not every performer is able to correctly capture and analyze modern musical trends. The composer’s language is often ambiguous and filled with numerous symbols, quotes, allusions, and various musical formulas. At the same time, the main task of the performer is to most accurately and clearly convey the artistic intent of the work. The effectiveness of the search for deep meanings directly depends on the accumulated interpretive experience. Unfortunately, the works devoted to the problem of modern interpretation are extremely few. And often, when searching for the necessary means of expressiveness, the performer is forced to use his personal intuitive potential in the field of interpretation and interpretation. In the scientific works of Russian musicologists, one of the criteria that realizes the meanings of a musical work is the reliance on the concept of a musical style. This article analyzes the phenomenon of musical style and its evolution in the course of the history of world culture. The main trends in fine arts, literature and music of the second half of the XX century are considered. The characteristic features of performing intellectualism in the context of the interpretation of contemporary music are revealed. Keywords: culture, musical style, intellectualism, interpretation, performance, postmodernism. Pp. 33-37.