Integrative processes in musical composition

The article deals with connection of modern music dramaturgy,thematic processes and composition and classifies thematic organisation types. The first classical type of thematic organization is basedon rhetoric logic and includes three components: exposition of a theme - structural stability - is followed by the theme development -structural instability - and recapitulation - structural stability (German - fest, locker, fest). All the other thematic organization types arebased on the first one. The second non-classical type is an inversion of the first type, in which the structural stability is in the centre ofcomposition. The third and the fourth types consist of two components. The third type is differentiating - the theme exposition isfollowed by the theme development; in the fourth, the integrative type of theme development precedes its exposition. The author paysspecial attention to the integrative type of theme organisation (ITO) in the music of the end of the 20th and the beginning of the 21stcenturies. This type can be found in two groups of compositions - ternary, rondo, sonata, cyclical, free and mixed forms and in specificvariation and theme form, which is also defined as ''variations with theme at the end'', ''reversed variation cycle'', ''reversed variations''and ''inverted variations''. The research of this type of composition has just started. The author sums up observations and singles out thecommon traits found in music works of R. Shchedrin, A. Shnittke, A. Tchaikovsky, S. Gubaidulina, D. Krivitsky, etc. Thetransformations of the theme micro-structures (short tunes, phrases, elements of serial, aleatoric, sonoristic techniques) create a widearea of structural instability. The theme form is opposed to previous variations in structural stability. Meanwhile, it possesses opennesscharacteristics due to high shifts of melodic sentences, improvisation, etc. Complicated integrating progressing leads to meditation. Thetheme has lyrical and philosophical content, and melodic nature. It sounds as the ''voice of the author'' and symbolizes soul harmony.The article discovers the comprehension history of ITO potentials and forms of ''variations and theme'' in works of West European andRussian composers, the author gives references to words of R. Schumann, A. Serov, V. d'Indy, M. Gnesin and D. Krivitskiy and showsthat the form descends from homiletic traditions and cycle structure of J.S. Bach's cantatas. In the conclusion the author connects IgorStravinsky's l'homme integral idea and philosophical conception of unity of homo sapience and homo religious and gives culturologicalgrounds for integrative processes in modern musical composition.

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