Musicology Annotation << Back Deconstruction of a genre of a song: Furrer’s «Lied» Nadezhda A. Petruseva Traditions of a postserial modernism and experimental postmodernism are shown on example of the play «Lied for a violin and a piano» (1993) by Bеat Furrer. For the expansion of the original composer’s approach to interpretation of a genre of a song, his compositional techniques and the method of musical thinking are considered the material and shape of the pieces, the disposition of rows, hidden symmetry is one of essential aesthetic categories of New music, parameters of an articulation, dynamics and tempo drama. The article used a complex method of analysis as a combination of musical structure, set theory, phenomenology of musical elements (focus consciousness on sound structures of various parameters) and hermeneutics (as the art of interpretation). The novelty of the article due to the absence in the national musicology research, dedicated to the works Beat Furrer. Heterogeneous multi-parameter «Lied» continues traditions of Webern’s music and serial composers. The new status of the song is the confi guration of the virtual «objects» («rhythmically complex, heterogeneous mixtures of sounds»), open bars, tempo and dramatic through-strophic form. There is a gap in relation to the nearest metamorphosis classic-romantic tradition. At the same time the composer seeks to approve a game (circular) discourse, whereby the internal structural peculiarity of «events» as it causes to the neutralization of both time and history (tradition of Nietzsche, Levi-Strauss, Stravinsky and Cage). Keywords: Furrer, postserial modernism, «heterogeneous mixture», rhythmic complexes-line, disposition of the rows, hidden symmetry, dynamical / articulation / tempo segments, tempo counterpoint. Contacts: E-mail: petrusyova@yandex.ru Pp. 13-22.