Musicology Annotation << Back Problem of tematizm in Domenico Scarlatti sonatas for clavier Anna A. Davydova The relevance of a research is characterized by the fact that in it the main lines of style of D. Scarlatti which have found refl ection in a tematizm his clavier sonatas are systematized specifi cs of a tematizm, his art advantages and historical value in the course of formation of a classical sonata form are revealed, evolution of a clavier tematizm of the composer from the point of view of formation of the homophonic and harmonious invoice and periodic structure is tracked. The scientifi c novelty of work is caused for the fi rst time the carried-out analysis of the process of semantic transformation of the general forms of movement which has led to material individualization, the description of the main types and structural solutions of a tematizm, his genre, impressive and other features. Scarlatti develops a new tematizm on the basis of the general forms of movement, such as descending and ascending gamut, the movement on chords sounds, wavy and turned, rehearsals on one sound, jumps with the subsequent fi lling, rise or descent on the extending and narrowed intervals, etc. However the composer fi nds something characteristic in their variations and combinations, individual and unique, individualizing a tematizm. In the creativity Scarlatti has gradually passed from polyphonic type of a tematizm with his motive-variation methods of development to homophonic harmoniously type and a method of thematic development. In subjects of his sonatas the important role of metro-rhythmic ratios begins to come to light and to be formed the frequency of statement of a musical thought which has resulted subsequently in prevalence of square constructions in classical forms. Keywords: Domenico Scarlatti, clavier, sonata, tematizm, common forms of movement, polyphony, homophony, style. Contacts: E-mail: adavidova70@mail.ru Pp. 03-14.