Humanities & Social Sciences 1 (2016 9) 150-157 ~ ~ ~ УДК 78.2 Ornamental Characteristics of the Musical Texture (through the example of pianoforte miniatures by A.K. Lyadov) Natalia V. Vinokurova and Marina S. Shkolina* Krasnoyarsk State Institute of Art 22 Lenin, Krasnoyarsk, 660049, Russia Received 02.11.2015, received in revised form 18.11.2015, accepted 26.12.2015 The author analyzes the musical texture of pianoforte miniatures written by the Russian composer, A.K. Lyadov: “Prelude” op. 42 no.2 H-dur, “Prelude” op. 27 no. 2 H-dur, “Prelude” op. 11 no.1 h-mol, “Birulki” op.2, piece no.1, aiming at fi nding the elements of ornamental compositions. <...> The sympathy in compositional methods of musical texture and ornaments, their graphical similarity once again prove universal features of the language means of the art and synthetism of the composer’s artistic thinking. <...> This very type of thinking appeared to be of the most immediate interest by the representatives of the Russian artistic culture in the Silver Age. <...> This work is conducted under the studies of extrapolation of the principle of plastic arts into the music. <...> At the turn of the 20th century the Russian was marked with an intensive search for new language means of expression in different arts.1 Thus, a great signifi cance was attached to an ornament as a multidimensional phenomenon, performing its artistic, aesthetic, symbolic, styling, dramaturgical, and, sometimes even A.K. Lyadov (1855-1914) © Siberian Federal University. <...> These features explain such a great attention to the ornament and its wide acceptance in applied and decorative arts, architecture, painting and book graphics. <...> In that sense, artistic characteristics of ornaments were taken on board by the representatives of one of stroke, fl ourish, motive, Art Nouveau, Natalia V. Vinokurova and Marina S. Shkolina. <...> Their turn to symmetry laws (the law of the balance of proportions, parts and the entire); the ornamental methods in the texture and composition under the Art-Nouveau style in Russia at the turn of the 20th century was taken off as a result of their interest to the Russian national heritage. <...> In that context, it is necessary to mention works by an outstanding Russian composer, A.K. Glazunov, “who places emphasis on the technique of artistic ornamenting of the melody line in the sound-building” (Vinokurova, 2011: 32). <...> This feature was bound <...>