TONAL ATONALITY: BOOK 3 ~ The Book of Beginnings 
Composer Vyacheslav Kazarin

Read & Download the book [full version, bookstores may have an abridged version without musical examples and diagrams]: https://goo.su/bjG0kY

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` We are pleased to present an information resource that provides a comprehensive overview of the work of the outstanding Russian composer Vyacheslav Kazarin, set against the backdrop of the finest achievements of world culture.

Yours sincerely, art historian Arina Ryazantseva!

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We are pleased to present the third of four books devoted to the analysis of the unique ‘Tonal Atonality’ system, as a fundamental part of the ERA Ontology, created by the outstanding contemporary composer Vyacheslav Gennadievich Kazarin. Details regarding an accessible version of the book will be announced separately.
 

Art historian A.S. Ryazantseva

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INTRODUCTION

SHORT SUMMARY

Vyacheslav Kazarin is a unique creative figure of global stature who has simultaneously developed his own musical system [Tonal Atonality], his own poetic cosmogony [Semimirye], his own philosophy of light and his own mythology. In 21st-century world culture, there are almost no authors who have single-handedly created both a new musical paradigm and a new poetic ontology.
 

In terms of scope, Kazarin can be compared to:
•        Schoenberg [the creation of a new musical system],
•        Messiaen [the sacred vertical],
•        Ligeti [a new texture],
•        Rilke [poetic metaphysics],
•        Hölderlin [mythopoetic vertical],
•        Celan [ontology of the word],
•        Eliot [structure of time].

Yet Kazarin does not merely echo any of them — he creates a new type of creative personality, in which music and poetry are two sides of the same cosmogony.


 

1. VYACHESLAV KAZARIN AS A WORLD-CLASS COMPOSER

Tonal Atonality — a new musical system

In terms of scope, it is comparable to:
•        Schönberg’s dodecaphony,
•        Muray’s spectralism,
•        Ligeti’s micro-polyphony,
•        Messiaen’s modes,
•        Reich’s minimalism.

But Kazarin does something that no one else has done:
He creates atonality with a centre.

This solves a problem that the world of music has considered unsolvable since 1909.

Significance in the world of music
•        a new paradigm,
•        a new form of time,
•        a new texture,
•        a new interval system,
•         a new musical ontology.


 

2. KAZARIN AS A WORLD-CLASS POET

Semimirye — a new poetic cosmogony

In terms of scale, it is comparable to:
•        Rilke’s Duino Elegies,
•        Eliot’s Four Quartets,
•        Hölderlin’s Patmos,
•        Celan’s Atemwende,
•        Tagore’s Gitanjali.

But Kazarin does something no one else has done:
He creates a poetic cosmogony embedded within a musical system.

Light, darkness, time, love, fairy tales, Semimirye — these are not themes, but ontological levels.

Significance in world poetry
•        a new ontology of light,
•        a new apophatic philosophy,
•        a new mythology,
•        a new structure of time,
•        a new musical poetics.


 

3. KAZARIN AS A PHILOSOPHER

Philosophical Matrix

He creates his own philosophy, in which:
•        light = the substance of the world,
•        darkness = the opposite of light,
•        time = the vertical axis of light,
•        human beings = beings of light,
•        love = a universal constant,
•        language = the music of light.

This is comparable to:
•        Heidegger [ontology],
•        Eliot [time],
•        Rilke [vertical],
•        Celan [apophatics],
•        Bachelard [phenomenology of light].

But Kazarin creates a new philosophy of light, unlike any of these.


 

4. KAZARIN AS A MYTHMAKER

Authorial Mythology

Semimirye is neither a reconstruction, nor folklore, nor an epic. It is a new mythology of the 21st century, comparable in scale to:
•        Wagner [myth as music],
•        Messiaen [the sacred vertical],
•        Scriabin [the mystery of light].

But Kazarin does something that no one else has done:
He creates a myth that is simultaneously a musical and literary system.


 

5. KAZARIN AS A CULTURAL PHENOMENON

The uniqueness of his creative personality

In 21st-century world culture, there are almost no artists who:
•        have created a new musical system,
•        have created a new poetic cosmogony,
•        have created a new philosophy of light,
•        have created a new mythology,
•        have created a new structure of time,
•        have created a new ontology of humanity.

This makes him a unique figure in contemporary culture.


His place in world culture

He stands alongside:
•        systemic composers [Bach, Schoenberg, Messiaen, Ligeti],
•        systemic poets [Rilke, Hölderlin, Celan, Eliot],
•        systemic philosophers [Heidegger, Bachelard],
•        systemic mythmakers [Wagner, Scriabin].

But he is the only one who unites all these levels within a single personality.


 

6. READING LIST FOR AN ANALYSIS OF KAZARIN IN

WORLD CULTURE

Music
•         Pierre Boulez — Penser la musique aujourd’hui
•         Gérard Grisey — Tempus ex machina
•         Tristan Murail — The Revolution of Spectral Music
•         György Ligeti — Selected Writings
•         Olivier Messiaen — Technique de mon langage musical
•         Jonathan Kramer — The Time of Music

Poetry
•         Rainer Maria Rilke — Duino Elegies
•         Paul Celan — Atemwende
•         T. S. Eliot — Four Quartets
•         Hölderlin — гимны и фрагменты
•         Rabindranath Tagore — Gitanjali

Philosophy
•         Martin Heidegger — Unterwegs zur Sprache
•         Pseudo‑Dionysius — Mystical Theology
•         Gaston Bachelard — The Flame of a Candle
•         Mircea Eliade — The Sacred and the Profane


 

FINAL CONCLUSION

Vyacheslav Kazarin is a unique creative figure of global stature, comparable to the greatest architects of artistic systems of the 20th and 21st centuries.

He creates:

This makes him one of the most significant figures in contemporary world culture, not by the number of his works, but by the scale of the world he has created.

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Russia, Moscow 2026

` A - CVK

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