ТЕМБР В МУЗИЦІ: ПРОБЛЕМИ ВИЗНАЧЕННЯ ПОНЯТТЯ

Abstract

The purpose of the study is to substantiate the possible approaches to the definition of the concept of "timbre", as well as to establish possible options for its definition, which were derived in modern musicology. It is established that timbre, timbre, as a key characteristic of sound, is one of the leading means of expression in the art of music. The dynamic development of the system of musical means of expression in the compositional practice of the twentieth century (both in electronic and acoustic music) has reduced the issue of timbre to a number of important topics in the creation of the theory of modern musical composition. The general spirit of experimentation and the active search for new approaches to sound have led to a significant change in the attitude of composers of the late XX – early XXI century to the sound organization of works. Therefore, the analysis and study of the basics of the specifics of musical timbres and the principles of their psychological perception has become an extremely important task for music science. It is established that today in science a huge amount of material has been accumulated, which indirectly or directly affects the properties and specifics of the musical timbre. A great contribution to the development of the problem of timbre was made in both musicology and musical acoustics. But the most intense advances in the study of timbre have taken place in musical psychoacoustics, especially in the field of electronic music. It was the search for electronic and then electroacoustic music that became a powerful stimulus for the computer study of the nature of the timbre. Practical tasks set by composers in the late 50's – early 60's in the field of electronic synthesis, raised the question of identifying objective and subjective parameters of sound, and therefore timbre, in a number of pressing issues of musical acoustics. Also with the help of the comparative method it was found that in music science it is permissible to complement "acoustic" and "musicological" definitions of the term "timbre", but "acoustic" will always be broader, and "musicological" – more accurate. Since musicological definitions of timbre (in addition to importance for timbre theory) are of great importance for the conceptual apparatus of music theory and professional generalization, ie allow to state the phonetic, phonological and articulatory side of a musical work and its performance.