The conference is devoted to the problems of the festival movement of the New Music.
Issues related to the impact of the festival on the development of composition and performance with the viability of new art are considered.
It should be noted that New music is not just any kind of music that composers create nowadays. New music is a generalizing concept, introduced in 1919 by the German music critic Paul Becker and suggests various trends in European academic music, where the innovation tendencies are particularly evident. New music includes the search for new sounds, new forms or new combinations of old styles, partly due to the continuation of existing traditions, partly due to a deliberate break with tradition and manifests itself either as progress or as an update (neo-or post-styles). Music historians mention two waves of musical avant-garde in the field of academic new music. The first wave originated in the early twentieth century and is known through the creativity of the new (second) Viennese composer school led by Arnold Schoenberg also through the works of Béla Bartók, Igor Stravinsky, and others. The second wave arose after the Second World War in the late 1940s and continues up to this day, although it is often divided into periods that differ in stylistic peculiarities: John Cage, Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, later Iannis Xenakis, György Ligeti, Witold Lutosławski, Krzysztof Penderecki, Edison Denisov, Valentou Sulvestrov and other representatives of “Kyiv Avant-Garde”, american minimalists, french spectrals, representatives of “new simplicity”, “new complexity”, electronic, acoustic music, etc.