Aspects of nonlinearity in music of the second half of the XX century

The purpose of the study is to give a preliminary idea of the non­linear music expressing the post­non­classical concept of the world. Novelty: for the first time: 1) the novelty of the composer’s thinking of the representatives of the Second Musical vanguard is explained from the standpoint of non­linearity and self­organization; 2) the author’s definition of nonlinear musical reality is given, where three forms of representation are distinguished: local, total, and biand polyfurcation; synergistic methodological tools, including terminology, are applied to musical subjectivity, which allowed us to define a new essence and new quality of musical and artistic compositions. The most important side of nonlinear music is the improvisational beginning, where the integrity of the whole is achieved through the inevitable emergence of a certain uniformity of material and the coherence of the elements on the basis of the self­organizing force of creative and performing will. By the example of J. Cage’s “Etudes Australes”, a structural feature is considered, which consists in its openness, atemporality and “dispersion” of sound tissue in timeless space, that is, the structure of etudes is dissipative) non­linear) in essence. Models of non­linear music systems encompass genre forms that define actionism – happening, performance, as well as collage and intertextuality techniques. Together, they demonstrate compositions with a “completely relaxed form” (I. Dobritsyna).

Thus, non­linear music is a specific musical text, or “modern … opus perfectum et absolutum” (according to M. Katunyan), dominated by casual processuality and structural openness, focus and self­organization, the principle of uncertainty and discrete metaphysics, which corresponds to the post­non­classical concept of the world and mental the specifics of the modern era. Non­linearity characteristics include the multiplicity of semantic, lexical, and structural representations of the material (for example, form aleatorics) and loose text (for example, graphic music), the approximation of elements and means of expression (musical and extra­musical), “deterministic chaos” (according to J. Gleick) and emergence of changes in the process of formation of musical matter, self­structuring based on temporary and anthropogenic factors.

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