LTVidurinės lietuvių kompozitorių kartos atstovo Ričardo Kabelio (g. 1957) kūryba iki šiol nėra plačiau teoriškai tyrinėta. Šiame straipsnyje keliamas tikslas išsiaiškinti būdingiausias kompozitoriaus stiliaus ypatybes. Čia nagrinėjamos ryškiausios atskirų etapų kompozicijos, ieškoma sąsajų tarp asmenybės savybių ir kūrybos bruožų. Matant kompozitoriaus kūrybos rezultatą, lyginant jį su ankstesne naujųjų romantikų karta, siekiama apibrėžti įvykusį stilistinį lūžį traukiantis nuo tuo metu dar gyvybingomis atrodžiusių komponavimo strategijų. Pasitelkiamos paties kompozitoriaus įžvalgos. Pagrindinė tyrimo išvada – apie susiformavusį individualų kompozitoriaus braižą.
ENThe author tries to disclose the harmony of the personality of the composer Ričardas Kabelis as well as to discuss the nature of the ideas of typical compositions. It could be said that in his musical provocations he tries to find out the limits to how deep he can delve into the depths of composition and stay understandable. There is no open romantic feeling, no messianic demonstration of energy. He creates a new field of meanings and different musical experience. The article is also concerned with his graphic scores (Rosary). Kabelis searches for regularities in music, he is interested in new acoustic experiences. His preference for one-timbre instrument groups is well known. The composer closely studies the phenomenon of sound itself. Kabelis is interested in the formation of overtones and their impact on the quality of sound. His particular attraction to mathematics is obvious, but it is not inert, mechanical mathematics. His usage of sound was ascetically minimal. Kabelis uses microtonal quantities in separate compositions. Often, the idea is expanded very consistently, and by its perfect form and the play of proportions reminds of a crystal. The harmony between the idea and material demonstrates the composer's thorough preparation for the creative process. Kabelis' music can be considered balanced and "diatonic" in the sense of inner purity.