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F. Ulmasov

About two kinds of monodic music-making

The article considers two types of monodic music-making, which are based on the production of substantial status of one melodic line. The author analyses the features of solo music-making within the system of eastern monody, which is represented in the structure of a solo singing with instrumental accompaniment («voice – instrument») and as well the collective unison vocal singing, which became the basis for the formation of the European cult monodic tradition (Gregorian chant, Russian Orthodox chant). The specificity of solo structure «voice – instrument » is associated with the domination of the vocal line of a soloist-musician, which determines the functional differentiation of the unison melodic voice and instrument lines into the leading party and the accompanying one. This solo performing structure provides greater opportunities for individual creative expression for a musician. Also it is able to implement suitable creative intentions «here and now», including improvisation. Solo singing with instrumental accompaniment is widespread in eastern monody system; it is used in a variety of genres of folk and oral-professional music, and seems to be the hallmark of this monodic system. Another type of monodic music-making – vocal unison – is characterized by unanimity, functional non-discrimination of melodic lines and the impossibility to change verbal and musical texts variably «here and now». This type of music-making in the eastern monody system has not formed an independent art sub-system (unlike the solo music playing «voice – instrument»), it is not a specific phenomenon inherent in the named system.

Key words

solo making music, unison, eastern monody, «voice – instrument» structure, musician-soloist.

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