Considering the special role of social practices in our lives nowadays, the author of the article, based on the methodology of Randall Collins, explains the priority of performative forms in contemporary art by the increased level of communicative processes in the society. Possibility of recreation of the model of the everyday interactive rituals in the framework of artificially created by an artist / composer artistic act allows us to consider performative installations a result of these processes. Analyzing installations as a spatial art, the author devotes special attention to the spectator’s / listener’s attention, proving through several examples that the social orientation of the performative musical installations is determined by the focus on transformation of the spectator’s mind through their disconnection with the world of familiar and expected. In direct contact with the installation structure, under the influence of unusual and not always comfortable visual and auditory impressions, the viewer is included in the process of understanding what is happening through his personal experience, associative series, comparison of the living and the inanimate, the movement of matter and sounds, new forms of their relationships. Considering installations as a kind of spatial art, the author points to a direct dependence of the type of installation on its location, points to the movement from a museum installation to a musical and theatrical one.