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The purpose of the article is to identify patterns associated with the transformational processes associated with the change of the verse form in pop music, especially in rock and pop directions. This goal is realized in the coverage of the likely influences of socio-cultural factors, and not just purely artistic. The methodology involves the use of an analytical method to illuminate the features of the structure of the couplets, which are present in modern pop music. The use of the comparative method was used to compare the terminology used to refer to the structural sections of the song forms in the domestic and English-American literary studies of art. The scientific novelty is that for the first time the evolution of the purchased form in rock and pop music was studied on the basis of identifying changes in the standards of duration and form of the song, which claims the status of a "hit". Conclusions. Assumptions are made about the possibility of the influence of technological processes, and not only on the individual creative principles of the composer on the duration and form of the chamber vocal work. A promising trend is the introduction of the terminology used in the Anglo-American literature to describe the sections of the song form, namely, the chorus, the bridge, into the domestic art studies discourse. [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal the specifics of the formation of free jazz, emphasizing its essential features and outlining the ways of interaction with other areas of musical art, which are manifestations of freedom of the direction. The scientific methodology involves the use of a comparative method to illuminate the features of the appearance of free jazz stylistics in the works of various musicians. The use of analytical and systematic approaches is appropriate for the selection of the essential features of the direction and their generalization. Scientific novelty. The features of free jazz as a direction corresponding to the aesthetics of postmodernism are revealed. His ability to interact with academic and ethnic music is underlined. From these areas, free-jazz borrows nonconventional ways of sound production, techniques of the game, tools, and principles of composition arrangement. Conclusions. Free jazz is one of the promising trends in contemporary musical art. His essential features are the desire for freedom - in a modal, rhythmic, structural relation. An extremely large influence on the formation of free jazz improvisations was academic music. It is the interaction with the avant-garde musical culture that introduces jazz in the rejection of tonality as such that it can be replaced by polytonality, atonality, or even elements of serialism. An important feature of free jazz is the desire to reveal the freedom of the artist, which can be manifested in the total improvisation of works, borrowing elements of ethnic music, actionist, and performance. Often, free-jazz is perceived as a piece of protest music that is acutely social in nature and directed against the policies of individual leaders or parties. [ABSTRACT FROM AUTHOR]