Abstract
The 21st century has become an era of rapid implementation of digital technologies in all areas of human activity. Musical art occupies a special place in this process: the computer is no longer merely a tool for fixing musical notation but is increasingly becoming a full-fledged participant in the artistic process. Composers employ it for sound processing, the creation of various electronic parts, the generation of graphic scores, multimedia installations, and even works that do not presuppose traditional notation. In recent years, Artificial Intelligence (AI) has played an active role in this process.For the musical culture of Kazakhstan, this trend is particularly significant and relevant. It finds a distinctive manifestation here, since experimentation with new technologies is combined with a profound reliance on national traditions. The use of the computer in tandem with the kobyz or dombra, the fusion of folk melodic material with electronic timbres, as well as the engagement with philosophical and poetic texts, allow the Kazakhstani experience to be viewed as a unique synthesis of tradition and innovation.This study aims to provide a panoramic overview of contemporary trends, the impact of digitalization and AI on the creative process, andthe use of technologies in compositional practice both internationally and in Kazakhstan. It also seeks to identify the main directions of creative experiments and to highlight their artistic and aesthetic significance. The concepts of composer-programmerand composer-mediator are introduced, reflecting new dimensions of compositional thinking.The methodology is directed toward constructing a comprehensive picture of the digitalization processes in musical composition, identifying both global and specifically Kazakhstani features, and conceptualizing the artistic significance of the interaction between tradition and innovation in 21st-century music. The research applies an interdisciplinary approach that combines musicological, cultural, and art historicalanalysis, drawing on historical-analytical, source-critical, and comparative-typological methods