CULTURAL TOURISM TRENDS IN THE EXPERIENCE INDUSTRY PARADIGM

both pre-recorded and looped audio that is broadcast from numerous speakers as well as individual recorded fragments of the character and the sequence of sound that a listener determines by own actions. Rapid development of new technologies as well as expansion of the role of the performer in the music of the twentieth century lead to changes in communication models, whose research is relevant in regard to the need for new approaches for their study. The Composer-Performer-Listener Triad introduced by B. Asafyev in the 1970s was considered acceptable in the context of the classic-romantic tradition. In today's context, its components lose their autonomy as a result of role redistribution and changes in functions within the designated triad. This is confirmed by examples of delegation of authority to a performer, which brings him closer to co-authorship in the case of an textural (where a composer indicates the approximate rhythm, dynamics, general character and temporal limitations of sound), form-making (where a performer is given the freedom to choose sequences of fragments of a work and also during the work) and unrestricted aleatorics as well (a composer creates a graphic score that a performer can interpret rather subjectively). Moreover, one of components of a triad may be absent altogether through transferring its function, for example, as in an interactive audio installation that lacks a performer. So, at the eve of the XX-XXI centuries, under the influence of technological innovations, new forms of multimedia, interactive art practices emerge that substantially modify the Composer-Performer-Listener traditional communicative model and are the evidence of the process of creating new syntax and new methods of creativity.