The dissertation defines the conceptual apparatus of research, the nature of musical creativity. The study analyzes and clarifies the basic concepts of the phenomenon of musical creativity, namely: "music", "creativity", "musical creativity", "pseudo-creativity", "pseudo-music", "quasi-musician". Modern understanding of the problem of creativity reveals a common identification of the concepts of "music" and "musical creativity", which reveals the perniciousness of such a combination. On the one hand, this reveals ignorance of the existence of reproductive and productive processes of musical activity, and on the other - the specificity and content of the actual work in the musical art is depleted. Substitution of the concepts of "music" and "musical creativity" closes the door to the world of studying creativity as a multifaceted psychophysiological process that activates artistic thinking, aesthetic consciousness and the unconscious in general, helps to find a way to spiritual improvement of the musician. It is found that an important prerequisite for creative activity in any field is the ability to rise to the awareness of the internal mechanisms of cultural form, to understand the context of a particular historical system in which the processes of personal growth. The cultural form cannot be changed, it can only exhaust itself with the end of a certain historical epoch. Creativity is an ability through which a person constructs a new reality from the standpoint of meaning-making, mastering the world according to the laws of expediency and beauty. Creativity as an artistic process is a phenomenon with a complex structure and is connected both with the world of subjective experiences and evaluations, and with the logic of the cultural epoch represented by the artist. It is determined that the creative process is closely connected with the processes of perception and reflection of reality embodied in the sign systems of culture; the information received by the creative personality, mediated by the emotional and sensory experiences of the composer, is transformed in consciousness into figurative and metaphorical constructions. Due to the author's context, in which the artist's vision is concentrated, there are original interpretations, new meanings. The transformative effect of interpretation on the performer is due to the fact that through creative communication with the work of music, the composer, his era and the entire artistic culture, the vocalist-performer enriches the boundaries of his personality. We consider creative interpretation as a complex manifestation of individual-personal characteristics of the performer in the process of artistic reading and realization of a musical work. The third section discusses music computer technology in terms of tools of modern music. It was found that active development in science and technology, and in particular in the field of information technology has affected all areas of human activity, contributed to significant changes in the concept of approach to the act of creativity, as new electronic tools require the invention of new methods of creative tasks. Contemporary music art is inextricably linked with the progress in the field of music technology of performing, composing and arranging techniques. It is proved that historical development has led to changes in public life and all artistic and cultural spheres, naturally and continuously influencing the art of music. This manifestation is reflected in the constant enrichment, new organization and use of its components, including: harmony, melody, form, structure, instrumentation, rhythm and more. New forms of musical expression acquire a new meaning, as evidenced by the following segment of the evolutionary sequence: vocal polyphony – baroque monody – polyphony of the heyday of Baroque art – classical homophony – romanticism – neo-baroque – neoclassicism. Identified social and social conditions that had a direct impact on the further development of musical thinking: economic crises, world wars, rapid scientific and technological development, the emergence of gramophone, tape recorder, sound recording, electric lamp, unprecedented pace of life in big cities, the influence of jazz and oriental cultures, etc., which led to the removal of creative methods not only of individual composers but also of entire schools of composition. It is revealed that the historical development of electronic music and electronic musical instruments is closely connected with the creative processes taking place in the field of composition, performing arts, musicology, and is expressed in: improvement of musical language, its enrichment with various compositional methods, means and techniques. The texture of musical works, and the emergence of this electronic instrumentation, which is new in the principle of sound production and sound production, requires a fundamentally new approach to the act of creativity.
