Ru
EnS. Petrunina
Organic music concept in Tan Dun’s “Trilogy of water, paper and earth”
The article examines realization of organic music concept in Tan Dun’s “Trilogy of water, paper and earth”, which includes “Water concerto”, “Paper concerto” and “Earth concerto”. Written by a mature artist, trilogy is one of the key compositions in the field of organic music that demonstrates fundamental principles and ideas on which the concept is based, such as connection with nature, unity of heaven and mankind, and also potential of organic instruments that is possible largely due to the chosen genre of concerto. This genre plays an important role in Chinese music of the second half of the 20th century and particularly in Tan Dun’s work. “Organic” here is explored on the level of different symbols and ideas that, for instance, are presented in various ways of placing musicians on the stage and in the concert hall; furthermore, organic instruments themselves sometimes act as specific visual symbols. At the same time “organic” is considered on the level of techniques of composition, work with thematic material. Features of the approach in every part of trilogy are analyzed in detail, concerning western influences as well as relationships with traditions of national Chinese culture, such as shamanism, Chinese philosophy, architecture, music theory, Peking opera. The author notes harmonious blend of achievements of Eastern and Western cultures that is reflected in work with soloists and symphonic orchestra, features of modes structures and forms, poly-stylism.
Key words
Tan Dun, organic music, “Trilogy of water, paper and earth”, Chinese music, Chinese philosophy, cultural dialogue between the East and West, “New wave”, Peking opera.
For citation
Petrunina S. Organic music concept in Tan Dun’s “Trilogy of water, paper and earth” // South-Russian Musical Anthology. 2023. No. 2. Pp. 12-21.
