Compositional Models of a Rock Album: A Case Study of the “Smerichka” VIA LP

Abstract

The article examines the principles of compositional organization of a rock album as an integral musical form, based on the LP by the Ukrainian VIA “Smerichka” (1976). The study focuses on methods of structuring musical material that ensure internal coherence and continuity of perception. The research takes into account the practices of Western rock bands of the second half of the 20th century, which makes it possible to identify both common and distinctive features in tracklist organization. The analysis covers three main parameters: the compositional structure of the album, tempo dramaturgy, and tonal disposition. It is established that the arrangement of songs follows a clear compositional logic, in which key and most recognizable tracks are placed at the beginnings and endings of each side of the vinyl record, functioning as semantic and dramaturgical anchors. This approach is related to listener perception patterns and is aimed at maintaining attention throughout the entire cycle. The tempo organization of the album forms a coherent dynamic dramaturgy. Fast-paced compositions open and conclude each side of the record, while the middle sections are filled with medium and slow-tempo pieces, creating contrast and ensuring internal development. Some tracks demonstrate more complex models with variable pulsation and internal tempo changes, which intensify the overall dramaturgical tension. The tonal disposition of the “Smerichka” LP reveals a tendency to unify the material around a common tonal center, A, with a consistent unfolding within related keys. Both sides of the album demonstrate movement from the minor to the major domain, contributing to a sense of closure. At the same time, local deviations and modulations add variety to the overall tonal logic. The results indicate that the “Smerichka” album is not a random collection of songs, but a deliberately structured musical whole. Its organization reflects principles comparable to the studio practices of Western rock musicians, allowing it to be considered a representative example of coherent compositional thinking in Ukrainian popular music of the 1970s