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LTStraipsnyje tyrinėjama iki šiol mokslinėje literatūroje mažai gvildenta ateminės formos sudarymo problema. Trumpai paliudijami jos egzistavimo faktai ikiteminėje muzikoje, teminės formos irimo procesai XIX-XX a. sandūroje. Neteminės tektonikos mechanizmą siekta atskleisti pasitelkus du vienu metu sukurtus ir anksčiau plačiai skambėjusius Aloiso Habos ir Jeronimo Kačinsko instrumentinius nonetus. Komparatyviu metodu aptariami minėtų partitūrų melodikos emociniai bei struktūriniai bruožai, jų tarpusavio ryšys, makroformos veikimo sąlygos bei galimybės. Prieita išvada, kad negatyvų atspalvį turintis terminas „ateminė forma“ neatspindi esmės ir yra keistinas. Tokią formą siūloma vadinti multimelodine nekartotine forma. [Iš leidinio]Reikšminiai žodžiai: A.Haha; Akordų konsistencija; Ateminė forma; J.Kačinskas; Komplementari ritmika; Kompozicinis ambivalentiškumas; Multimelodinė nekartotinė forma; Papildymo ir grupavimo technika; Pustoninė logika; A.Haba; Athematic form; Athemic form; Complementary rhythmic; Complementary rhythmics; Compositional ambivalence; Consistency of chords; Half-stel logic; J.Kacinskas; Multimelodic unrepeated form; Semi-tone logic; Techniques of complementation and grouping.

ENDuring the first decades of the 20 century, with the abandonment of tonality and changes in harmonic usage, structural features of music underwent changes as well. Along with atonality, die concept of athematic music was established. Although such a term has negative connotations, the characteristics of this type of musical composition have not been researched in greater detail. This article attempts to show that athematic music is not chaotic and amorphous. The article gives a retrospective account of prethematic music, makes mention of the examples of Oriental folk music and the prosaic melodic type of Gregorian monody, and discusses the influence of the cantus firmus on the genesis of the theme. It overviews dominance of the thematic form during the centuries that followed and its abandonment at the end of the 19 century. The slogans of freedom of art widely declared at the beginning of the 20 century and search for new expression possibilities inspired novel ideas on musical structure. Alongside with the representatives of the New Viennese school, the Czech composer Alois A. Haba - and subsequently his disciples - became involved in a vortex of these ideas. The Lithuanian musician Jeronimas Kačinskas appeared to be among them as well. A part of the opuses by A. Haba and Kačinskas are devoted to athematic music. Therefore two of their instrumental nonets that have been created simultaneously serve as a good means for analysis of the principles of organization of athematic music. The article reveals peculiarity of macro-features of the form in these compositions.Emphasis is laid on their permanence and horizontal orientation of the form that is based on the principle of non-repetition. The author discusses the polycentric dramaturgic logic, the asymmetry of the larger (and minor) structural units, and the irregular pulse of form, metre and rhythm. The article highlights the essential feature of these compositions - their multimelodic character: both the playful A. Haba's nonet and the lyrically mysterious Kačinskas' composition are based on approximately 64 melodic formations. The article goes on discussing their character, more typical melodic elements, and types of motives and submotives. The manner of the relations between the structural units (consecutive, simultaneous, and mixed variations), techniques of their grouping, motivational polymetry, and complementary rhythmic are seen as the main devices for such an indeterminate form. In both nonets, the vertical is determined by the polyphonic and heterophonic textures, which are regulated by the tonal centre (as well as complementary tones) and consistency of chords constantly changing at the main points. The whole mechanism is enhanced with the help of alternation of the timbres, texture and registers of nine musical instruments. Taking into account the compositional ambivalence, it is suggested that such a plotless, polysemantic form of depersonified formations shall be defined as multimelodic unrepeated form. [From the publication]