Innovative forms of interaction between "word" and music have become common in the works of contemporary composers, so the issue of studying these phenomena in the course "Analysis of Musical Forms" seems to be very relevant. Performing contemporary vocal music also implies the ability to analyze such opuses and the various forms of composers' work with the matter of the word and different sounds of the voice. Obviously, professional education should provide an idea not only about the forms of the latest music, but also about the approaches to its study. While there is a certain common basis for the traditional analysis of a musical work in the integrity of its substantive and formal aspects, where attention is paid to all the components of the artistic synthesis of "interacting music" (in the terminology of O. V. Sokolov), a certain specificity appears when considering compositions with non-traditional forms of synthesis of "word" and music. The article discusses this methodological problem and suggests the ways of its practical solution in the appendix to the training course "Analysis of Musical Works / Musical Form".
