Home By 1973 "the Moscow Experimental Studio of Electronic Music", possessing two various systems of powerful synthesizers, it was put forward in number most technically оснащeнных the advanced laboratories which are engaged in research in the field of new music. The composers working in the conditions of studios of electronic music had practically an infinite series of heights and paints. To be guided in such situation to the composer who had traditional musical education it was extremely difficult, the huge sound world which it often was not ready to systematise and well to master in своeм creativity fell upon it literally words. In 1958 on device "АНС" (it then was ещe at Murzina on a summer residence) the first very successful musical tests, but, unfortunately, have been made by composer A.Volkonskim this most talented composer has stopped further successfully begun work in new area. But its short activity had very important consequences. On the first records made A.Volkonskim, and then composer Nikolsky, absolutely young composers - Alexander Nemtin, Edward Artemyev, Oleg Buloshkin and the engineer-electronics engineer having music education, Stanislav Krejchi studied come to Murzinu in 1960, then ещe. Under the direction of E.Murzina composers mastered the tool, studied приeмы and creation methods on "АНСе" synthetic voices. In 1963 new independent products have been created. Especially it is necessary to note the composition "Slezy" And. Немтина where the composer managed to synthesise the sounding close to choral singing, accompanied bell гармониетембрами and noise of difficult structures. It posesses the first experiences with new synthetic frets (a suite "Forecasts"). But всe these compositions were not free from the traditional approach to a material. The same approach, but already употреблeнный it is conscious, takes place in other composition of the composer - "Singing in Eternity" (1970). The given composition is constructed on two elements - денатурализированный a human voice (after some "electronic" processing it приобрeл "tool" quality), its party is written in strict додекафонной to technics and a synthesizer "АНС" on which the author synthesised if so it is possible is expressed, мимикрирующий гармониетембр (at first as though the huge body imperceptibly transformed to sounds of other class - noise, choruses, etc. Which, in turn, are scattered on movements of separate overtones, in a consequence again gathering in an initial timbre of body.