Due to the general tendency to promote timbre as one of the leading musical expressive means,in the music of the 20th Century,one of the most common methods of composing with timbre is timbre imitation.In studying this phenomenon,the author relies on the theoretical positions of the Russian musicologist E.A.Ruch'evskaya,who interpreted timbre imitation as a historically estab-lished technique of"depicting"the characteristic timbre role of an instrument or voice through the use of thematic models typical of it,intonations,general forms of sound.The analysis of examples of the use of this technique in the instrumental works of Russian composers of the second half of the 20th Century allowed us to identify several of the most characteristic ways of its evolution,such as:traditional path,based on the using of primary genres and quotations as an intonation-thematic model replacing the timbre;the path associated with an expanded interpretation of music instru-ments and using of non-traditional methods of sound production;modeling of the"image of timbre"based on convergence with sonority technique and the using of electronic analysis of sound timbre pa-rameters.
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