The paper presents the musical-sound approach to the interpretation of the interior of the place of worship, which is the additional features of the analysed musical and architectural cycle consisting of the Peter and Paul Cathedral, the Mother of God Odigitrievsky Church, the Church of the Ascension, the Church of the Holy Forerunner and Baptist of the Lord, and the Church of Dmitry of Rostov in Barnaul. Relying on the versatility of the well-known musical sound characteristics and patterns, we confirm their presence in the organisation of the internal space of the centric and non-centric churches. The timing parameters of the model of the "way" (non-centric church) and "place" (centric church) make the architecture statics dynamic and give it additional features (rhythm, meter, movement, tension, tempo, etc.), as well as approach architecture to its temporal analogue of art - music. Deciphering the traffic pattern encoded in the interior of each church reveals a general model of melody development, invoices its intended musical analogue. More detailed musical information (tone, mood, the music sequence, chord, etc.) is closely connected with each attribute of the church, located at a certain place that enriches the musical nuances of the general scheme of the textured solutions of the proposed musical analogue. A huge information reservoir is the ornament that fixes the ability of the sound to produce visual forms and add, if desired, a particular sound representation in the form of paintings and sculptural decoration of the church. In addition, parishioners are able to adjust themselves to this interpretation of architecture basing on the impulses of their own, which makes the perception of the interior of the church mobile, updated, dynamic. The proximity of the latest scientific developments to the understanding of the world and the connection with the philosophical concepts of the past on this topic make music sound approach resilient, ensuring the continuity of cultural traditions and relevant in today's culture of masses and consumption. The main objective of this approach to the perception of religious architecture lies in the revival of spirituality, integrity, knowledge of the world and inspiration of the cultural landscape of the city, enhancing the recipient's own position. The art-historical reconstruction of this kind will help to recreate the lost layers of culture, tourism and increase the investment attractiveness of the region. Creating a new interpretation, communication codes becomes an opposition to the modern trends of simplification and stereotyping.
