Music and Time Annotation << Back Categories of Macrocosm and Microcosm in Russian Music of the ХХ Century . A.I. Demchenko Perhaps the deepest of the cardinal essences of Russian music of the early XX century was the movement to the origins of life. It implies the artistic development of the root system of existence of the world and man, the desire to penetrate into the original layers of life matter. This process has received the most diverse refraction. The resulting aspiration to the eternal substance, even universal c climbing to the categories of natural and naturalnogo meant the aspiration to the macrocosm. One of the ways to comprehend the macrocosm was through the embodiment of images of nature, which begins to be considered not only as a factor accompanying people's lives, but also as something self-valuable, beyond the human world, which in the limit led to pantheism. A different form of contact with the macrocosm was associated with the comprehension of the abovetime categories, which happened more than once in the best examples of spiritual music, which experienced its Renaissance at the beginning of the XX century, as well as in the forms of organ neo-Baroque. On the other hand, there was a dive into the depths of the microcosm with access to the level of primary, sometimes embryonic manifestations of life, and was carried out including through the development of the subconscious. At fi rst glance, the trends of macro and micro seem to be directly opposite, but there was a certain parallelism between them. The most signifi cant moment of their rapprochement was associated with destructive processes that were directly or indirectly related to the return to the primordial life. On the same soil and spontaneity grew-a quality inherent in both the microcosm and the macrocosm, belonging to the sphere of the original due to the fact that it is coming from the depths of nature and human nature. Keywords: music of Russia of the beginning of XX century, macrocosm, microcosm, destructive processes, spontaneity. DOI: 10.25791/music.9.2024.1319 Pp. 16-26.