The wealth of historically formed species varieties and genres of art is explained by the fact that the structure of art is a complex dynamic system. This means that in its entirety this structure is capable of being modified due to the flexibility, the plasticity of the connections between its various sides and the various elements of each of its substructures. The artistic structure becomes movable because each component of it can go out in the foreground or on the contrary fall into the background, it can acquire a dominant or subordinate meaning. By comparing the painting and the architecture, one can see that in one case the creative ability of art is subordinated to cognitive ability - that is why painting is based on the depiction of the visible world, and the creation has its purely illusory character (in reality the picture is pure and simple plan on which colored spots, and it only seems to us a landscape or a life event) and in architecture the creation has a completely real character and plays a major role - even if it is completely devoid of cognitive and evaluative content, artistic value equipment retains its utilitarian and technical significance, whereas the picture in such a situation can not have any value at all (apart from the value of the materials themselves). This explains the tragic paradox of abstract art that seeks to be only a color-plastic construction, but to the extent that it achieves this goal, freeing itself completely from both the cognitive and the evaluative content, and from the character character of the form, it turns out ... nothing at all.
If we compare painting and music, we will find that there is a different relationship between the cognitive and the value-oriented ability of art: painting can not express anything without being depicted, so the assessment is subordinate to knowledge, and music resolves of reality only as long as it is necessary to solve one or another expressive task. But in this way, the creative beginning also plays a more active role in music than in painting, accidentally in the latter, naturalistic passivity, copying imitation, while the mere sounding is not recognized as a musical work. Even within a kind of art, the relationship between subsystems that form its specific structure only has relative resistance and allows for some variations. The genre structures form something like a spectrum, one end of which is the documentary-artistic genres of a highly analytical nature, and the other - myths, fairy tales, fantasy or science-fiction narratives, plays and films. At the same time, the range of genre and generic variations in the structure of one or another type of art depends to a large extent on the variability of the ratio of elements in each of its subsystems.
An example of difference can be found between vocal and instrumental music: in the first connection of the real musical means with the verbal, the role of the intellectual and consequently of the ideological element of the axiological subsystem is significantly enhanced, the emotional expression and the social psychological content. Thus, the modifying ability of the artistic structure provides the opportunity for the existence of a variety of species, genus and genre forms of art. Therefore, in the complex dynamic nature of this system lies the key to morphological analysis of art.