German Instrumentalism of the Eighteenth Century in Intersection with the Post-Avant-Garde Heritage of the Present

The purpose of this article is a stylistic analysis the musical and artistic tendencies eighteenth-century German music, in which not only antitheses respective typological achievements, but also their certain diffuse vagueness, connection with political background convergence confessional divisions, complex interweaving religious national-social factors – constituted fertile ground for creative discoveries correlated "disappearance trends" post-avant-garde music. research methodology intonation approach, as it was mentioned works B. Asaf'ev's followers Ukraine (see publications D. Androsova, O. Markova, Muravska), well based on development instrumental performance Odessa school (works by Z Bukatskyi, K. Mülberg). scientific novelty work noted originality presentation meaning diffusions art era basic understanding ecclesiastical expressive component them, provided provides an independent flavour appropriate combinations, playful mosaicism post-post-avant-garde present. Conclusions. eclecticism Baroque Early Classical period based, firstly, applied inseparability principles Italian instrumentalism eighteenth century against existence cultural idea coexistence national traditions inertia latter’s unity use. And, secondly, lack expression presence opera until 1780s, antithetical positions styles were concentrated, stimulated intersections instrumentalism, evaluated significance concertos existence.
 Key words: style era, baroque, classicism, post-avant-garde.