Символика аудиального пространства музыкального текста (Шестая симфония Авета Тертеряна)

Abstract

The expressive and form-generating functions of the sonoristic timbre-texture are disclosed in a set of aspects among which an important position is taken by the semiotic function of the spatial organization of the musical text. The auditory space in Avet Terteryan’s Sixth Symphony manifests itself in the guise of an important thematic and compositional component. The spatial characteristics of the musical texture contain “codas” in it, which carry out the symbolic connection between the music and its recipients. The semiotic field of Terteryan’s symphony reflects a dialogue of cultures, generated by the composer’s aesthetic, religious and philosophical position. In the system of the composer’s musical language the organization of the auditory space demonstrates itself in the role of the lexis (thematic units) and grammar (the principle of the organization of the musical chronotope). The function of the lexical units is carried out by 1) timbres-symbols perceived as “voices in time” and 2) the artificially created image of the sounding space, which actualizes the image-related thematic arches towards church acoustics, natural landscapes and the metaphysical dialogue of the “visible world” and the “invisible world.” the auditory space of the Sixth Symphony reveals a number of the basic modes of the artist’s creative consciousness and the culture that generated it. The correlation of elements of the lexis of various types on the phonic, timbral-structural and semantic levels forms a unique type of compositional logic. The acoustical musical chronotope of the symphony reflects the Eastern Christian picture of the world, one of the most profound characteristics of which is the logocentric foundation, which is disclosed in the symphony’s architectonics. The image of the Word forms the basis of thematicism and conception of the musical form. The organization of the auditory space discloses the iconic nature of the musical text. As the result of the composer’s numerous utterances, helping us adjust for the perception of the composition, the possibility of transferring to a supra-musical sphere of creative consciousness arises. On this level the symphonic genre functions as an instrument of religious-philosophical cognition. Keywords: Avet Terteryan, the symphonic genre, sonoristic timbre-texture, the semiotic function of the auditory space.