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M. Anikeeva

The relationship between sonoristic technique and musical form in the works by Russian composers of the last third of the twentieth century

Sonoristic technique, since the middle of the 20th century, has been one of the most important composition methods. Composers turn to timbre as a central topic of study and research (this clarification is important because the thinking, the optics of vision, and, in general, the essential approach to composition are changing). In this regard, sonority influences the fundamental compositional parameters, including such an important one as form formation. This article analyzes the forms of sonoristic compositions, giving characteristics and examples of individual forms and poly-parameter composition. The interaction of some established forms with sonoristic technique (such as classical forms, or forms based on extra-musical formulas) is also considered. In the music by Russian authors of the last third of the 20th century sonoristic technique is being actively developed, influencing the construction of form in the works. The author considers the works by E. Denisov (“On the shroud of a frozen pond”, Symphony No. 1 for large orchestra), A. Schnittke (1st and 3rd Symphonies), S. Gubaidulina (“Stages”, “De profundis”), G. Ustvolskaya (“Compositions” No. 1, 3), N. Korndorf (“Movements” for percussion ensemble), R. Shchedrin (Concerto for orchestra “Ringings”) and S. Slonimsky (“Coloristic Fantasy”) in terms of interaction of form and sonoristic technique. The analysis of different sonoristic works of the composers reveals their individual approaches: as a rule, they include a special idea of the work and a unique individuality of each composer. At the same time, practically all the compositions obey the general laws of form formation, which are interpreted by the used sonoristic technique.

Key words

sonoristic technique, musical form, poly-parameter composition, form of individual order, Russian music in the last third of the 20th century.

For citation

Anikeeva M. The relationship between sonoristic technique and musical form in the works by Russian composers of the last third of the twentieth century // South-Russian Musical Anthology. 2022. No. 4. Pp. 103-108.

DOI

10.52469/20764766_2022_04_103