Принцип контраста как композиционный прием в Сонате для баяна Б. Мирончука

Abstract

The aim of the study is to identify the role of the principle of contrast (figurative, genre, thematic, tempo) as a compositional technique in the Sonata for accordion by B. Mironchuk. The work of the Donetsk author becomes the object of comprehensive study for the first time. The principle of contrast is considered as an important factor in the formation and development of musical material. It is noted that the figurative contrast associated with the alternation of active and lyrical figurative spheres drives the dramatic development of the work. The tempo contrast is embodied in delimitating the sections of the form of each of the sonata’s movements. The figurative-tempo spheres are characterized by comparisons of the genre models of toccata, scherzo and song, the jazz style of boogie-woogie and quasi-choral episodes are involved. The thematic contrast is manifested in changes in the mode-tonal plan, features of the harmonic and rhythmic organization and stylistic decisions. The analysis of the interpretation shows the identity of the thinking of the performer and the composer embodied in one person and suggests the unique standard of such an interpretation due to the exact adherence to the instructions of the author’s text. The result of the study amounts to the following: the analysis of the compositional techniques and interpretation of this opus provides a platform for further study of B. Mironchuk’s creative work and the sonata genre.