«Море» Клода Дебюсси: темброакустический образ водной стихии

Abstract

Among the characterizations of sound exerting influence on the processes of sonic perception, timbre presents itself as the most important. Intrinsic to any of the acoustic phenomena of the physical world, it not only determines its specific individual coloration, but also, endowed with the immanent property of generalizing and concentrating the fundamental traits of the objects and phenomena of animate and inanimate nature, forms integral auditory image on their basis. The designated capability of the timbre expands the boundaries of the traditional perception about it as exclusively about a qualified characteristic feature of a concrete musical instrument or voice. It is widely used in programmatic instrumental music for artistic manifestation of the natural world surrounding man. In this connection special interest is aroused by analysis of timbral components involved in the musical-artistic depiction of the sound image of the sea by Claude Debussy. The author choses a methodology of art studies, psychology of perception and musical acoustics as her point of departure. The main accent in the process of analysis is the disclosure of techniques of the recreation of the aggregate of the characteristic acoustic signals of the calm sea in the first movement of the symphonic triptych La Mer. The author comes to the conclusion about the dominating role of timbre in the formation in human perception of an integral artistic image, similar to its natural analogy in its physical characteristics. Keywords: Claude Debussy, timbre, image of the sea, musical acoustics, musical-artistic reconstruction.