The phenomenon of the one-tone compositions in the XXth century music
The article is devoted to the artistic phenomenon which is very seldom found in academic music of the XXth century, namely one-tone compositions. The author considers them in the context of vanguard modern art tendencies. He tries to designate the major parameters of structure organization, and to define the most typical ways of the personal interpretation conformably to one-tone sounding in works of the last century. The «summarizing» description of the named form-types is attended by profound studying the problems of musical perception, and information features of composition. Besides, the researcher notes a priority role of reiteration in the specific conditions of one-tone pitch. The taken analysis of the concrete music material (works by I. Wyschnegradsky, A. Berg, K. Penderecki, A. Murov, G. Ligeti, G. Scelsi, S. Gubaidulina, A. Knayfel) is conducive to reveal the key peculiarities of the mentioned compositions such as limitation of the sound «potential» compensated with the aid of other expressive means, and use of methods which favour the overcoming of listeners’ perception inertia, and the prevailing sonorous interpretation of a sound, and comparatively small duration. The author of the article notes that realization of the defined «one-tone-sounding» idea is evidence of a certain evolution in interpreting of musical tone: from its conception as a particularly acoustic phenomenon, to satiety with the symbolical contents expanding the significant horizons of composer’s creative work.
one-tone compositions, avantgardism, composition techniques in the XXth century, micro-chromatics, sonorous technique.