The article discusses the works by contem­po­rary Russian composers I. Sokolov, A. Voustin, A. Mo­zalevsky, V. Tarnopolsky and D. Kourliandski, written to poetic and prose texts by Andrei Platonov. The beginning of the paper spotlights the “musical” features of the writer’s language, and the analytical part presents the works written on poetic and prose sources successively. The stylistics of A. Mozalevsky’s “Triptych” for soprano, baritone and piano is determined by the so-called “peasant poetry.” The “Distant Road” cycle for tenor and piano by I. Sokolov is based exclusively on voicing using a wide range of expressive means lyrics, considering the composer’s cryptophonic experience. “Three Poems by Andrei Platonov” for voice and instrumental ensemble and “Song from the Novel by Andrei Platonov” for men’s chorus and orchestra by A. Voustin, written at the confluence of poetry and prose, bear the stamp of folk rituals. Works on prose texts, following the writer’s artistic style, have the features of cinematographic montage. “The reading of A. Platonov” by A. Mozalevsky for symphony orchestra, recitation and bass-baritone is designed as a musical-theatrical scene. The form of “Chevengur” by V. Tarnopolsky for voice and ensemble is defined by the author himself as a “motet, built on the imitation principle.” The drama­turgy of “Innermost Man” by D. Kourliandski for soprano and four groups determine by the aesthetics of the so-called “strength of material.” This publication is a Russian translation of the article in “Osteuropa” made by the author.