To the Concept of “Sound Object” in Musical Theory and Composition Practice of the End of the 20th — the Beginning of the 21st Century

The article is devoted to the concept of “sound object”, fundamental category for music late 20th — early 21st century. It considered from standpoint Pierre Schaeffer’s theory concrete music, Helmut Lachenmann’s instrumental Dennis Smalley’s spectromorphology, James Tenney’s gestalt theory, and also interpreted within philosophical framework Graham Harman’s object-oriented ontology Bruno Latour’s actornetwork theory. works Beat Furrer, Peter Ablinger Georg Friedrich Haas are analyzed. conclusion research that in order interpret phenomenon a sound object modern compositional practice, which extremely diverse, musicological methods not enough, therefore, an appeal philosophy can contribute more accurate interpretation help analyze objects world all their diversity.