Abstract
This article explores the influence of the Gregorian chorale on the compositional language of Marilyn Shrude on the example of her work "Lacrimosa" for piano and alto saxophone. Using three chorales from the "Requiem", the composer created a work expressing grief for the students who had passed away prematurely. The most important is the chorale "Subvenite sancti Dei", which serves as the main source material for the entire composition. Most of the musical text of "Lacrimosa" emphasizes the natural minor mode of this chorale. In addition, the composer refers to the Gregorian chorale "In Paradisum", using the Mixolydian mode in which the chorale is written. M. Shrude also uses the verse "Lacrimosa dies illa" from "Dies Irae" in the final part of the composition. Attention is also focused on the use of heterophony and unison by the composer as ways to imitate the reflected nature of music performed in resonating spaces. Abroad — in the USA and Europe — there is a considerable amount of research on Marilyn Shrude's music. Based on the analysis of her works, around a dozen doctoral dissertations were written. In Russia, at present, the works of this major American composer are little known, and there are no studies of her work. This article is a continuation of the author's research on the composer's style of Marilyn Shrude.
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