This article is about what is absent in notes, but exists in sounding music, created by the composer, who puts vital force in its own creation that is preserved in it for centuries. This article is about the energy that permeated the contexture of sounding music, making the soul tremble, sensitively responding to its flows that master our whole existence. This article is primarily generated by the surprise and desire to find an explanation of the historical phenomenon -the centuries-old not the

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... nturies-old not the vision of "elephant" in music art by musicology, its scrupulous study of minor items that do not affect the essence of music and are revealed in its energetics. The latter is visibly expressed in the work of the symphony orchestra conductor, who controls the energy flow that generates music: controls the degree of intensity and its distribution in different sound plans and dynamics of sound, builds a chain of climaxes, finishing by the general culmination where a powerful burst of energy and lessening of tension leading to the balance of power lines take place, and which confrontation creates the development of musical forms in time and space. It should be admitted that on the intuitive and conscious levels musicology approached this topic several times, and finally has closely come to understanding of the necessity to study music energetics and even more -the energetics of art in general. More and more often the word "energetics" can be found in the everyday life of people of musical (and not only musical) art, there are calls to start its studies (M.A. Gotsdiner, A.A. Melik-Pashayev and N.I. Melnikova), articles and monographs on the energetics of art,