Expressive peculiarities of tembre and texture forms in sonor compositions with the violin
The sonor compositions for violin by Russian and foreign composers of the second half of the 20th and early 21st centuries are distinguished by a variety of timbre and texture forms. The structure of the sound material in modern pieces of music depends much on compositional writing techniques. They affect both the updating of the qualities of the instrument’s sound itself and the sound image of the violin as a whole. The expansion of the instrument’s timbre acoustic and coloristic capabilities is responsible for new texture forms of the musical material presentation. In this regard, on the basis of the present theoretical systematisation of timbre and texture forms, the author of the article examines sonorous musical compositions with the violin. The individual acoustic and technical capabilities of the instrument determine a particularly vivid manifestation of the timbre sonorous effects. Their artistic specificity is largely associated with performing techniques (methods of sound producing and sound science) which expand the timbre capabilities of the violin. In their pieces for violin, contemporary composers use both specific and nonspecific performing techniques, for instance, glissando (from one to several sounds, glissando to the cluster), tremolo, playing on the bridge and behind it, striking the belly, pizzicato on a string with a strong click against the fingerboard, etc. Such techniques allow to produce new overtone, noisy effects which greatly enrich the timbre palette in the violin sound. The exemplified samples of violin compositions demonstrate the influence of timbre and texture forms on the expression of the finest nuances and details of the content. In fact, they build up the idea about the violin sound as a self-sufficient phenomenon which plays the most important semantic role in compositions.
sonorics, violin, timbre and texture form, musical fabric, coloristic effects.
Kudashova V. Expressive peculiarities of tembre and texture forms in sonor compositions with the violin // South-Russian musical anthology. 2020. No 1. Pp. 96–102.