Феномен и семантика звука в современной музыке как предмет освоения в музыкальном образовании (на материале творчества Александра Бакши)

Abstract

The nature of the sound is unique and inimitable in the works of modern composers, crystallizing in the complex search for musical expression. The article attempts to trace the formation of a new phenomenon in Russian music – “Theater of sound”, which is possible for comprehending in terms of value of a separate sound in the organization of compositions by the Moscow composer A. Bakshi where each of them realized by an initial element of creation of the work coloristic is calculated. The weight of the acoustic point at the intersection of sense-forming factors of different plan, allows us to consider each sound in a musical work semantically significant unit, because it instantly reflects the change in content, sensitive to the situation, is endowed with great energy impact. The article reveals some features of the sound organization and its fundamental role in vanguard compositions, which creates conditions for the search and development of new meanings. The method of analysis of instrumental works is based on the movement from particular manifestations to generalizations concerning the whole work and its stage life. The creative process of writing this author is unique in that it begins with the search and formation of a single sound, giving a special energy stress with its timbre, character. The composer extracts the maximum of possibilities from it, using rhythmic variability, timbre, tessitura, various methods of sound production. Individualization not only enhances the expressive properties, but also increases the semantic and functional load of more significant constructions. As a result, there are new ways of organizing the musical fabric, based on associations, the game of meanings, ambivalence. Coloristic work, sound transformations complicate the code of meaning generation, which characterizes the change in the type of communication. In connection with the “visual turn”, new types of codes are developed that contribute to the volumetric perception of the work in the polysemantic whole. The understanding of the essence of the considered processes in the musical-theoretical aspect is a necessary condition for the inclusion of creativity of modern composers in the content of musical education.