Abstract
The subject of this article is one of the vast compositions of the Moscow composer A. Bakshi, "Polyphony of the World", the genre of which is designated as a mystery. The work reflects the composer’s views on the problems of cosmogony, cultural development, art, and the role of the creator. The study identifies both the universal, archetypal foundations of the genre in this work, and the unique ones determined by the features of composer’s thinking. The methodology of musical analysis of the composition is based on identifying stable models, principles that allow identifying the genre amidst its historical transformations. This approach involves studying the techniques of musical development, uncovering connections that concern the entire work and its stage life. The study examines the specifics of the development of sound material and its spatial organization, based on the concept of the "theater of Sound". The novelty lies in studying the sound organization and its scenic embodiment through the prism of the archetypal foundations of the genre, giving it stability and consistency. It is proven that in terms of imagery and dramaturgy, the author relies on ancient origins associated with the mythological Orphic complex. The conclusion is drawn about the synthetic nature of the composition based on the expressive, formative, and semantic role of the musical material in the unity of the whole. The archetype of mystery defines the stable principles of the genre and encompasses various transformations.
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