ДЕЯКІ ОСОБЛИВОСТІ ОРКЕСТРОВОГО ПИСЬМА А. БЕРГА У СВІТЛІ КУЛЬТУРНО-ПАРАДИГМАЛЬНИХ ЗМІН ПЕРШОЇ ПОЛОВИНИ ХХ СТОЛІТТЯ

Abstract

The purpose of the article is to disseminate features of orchestral writing of A. Berg as one of the most prominent figures of twentieth century music in the context of cultural and paradigmatic shifts. The represented scientific article uses such methods of research as systematic, functional, comparative. Scientific novelty of the article is caused by the fact that it is foremost examination of A. Berg’s orchestral writing in the aspect of incarnation of views on spacetime. Conclusions. A. Berg’s orchestral writing is a phenomenon that has not been sufficiently studied. On the one hand, it continues to develop in accordance with the tradition if the Late Romanticism; on the other hand, it reflects changes in views on time and space, that have transpired in European culture of the first half of XX century through paradigmatic diversity. The means of orchestral writing incarnate (objectify) determined by the culture and the context “non-classical” views on spacetime, intertwined with the classical ones. Space, constructed by A. Berg, has such features, as: 1) being organized from multiple constituents as a result of multiplication of orchestral functions; 2) heterogeneity, caused by almost autonomous increase and decrease of number of voices; 3) instable density on the microlevel and macrolevel of the composition. Diagonal logic of textural and timbre organization of the orchestral texture produces differentiated and diversified time. However, A. Berg’s time reveals its genetic relation to another understanding of time, linear, continual, anthropologic in its essence. Influence of continuity reveals itself in the predominance of horizontal thinking, linearity (even in changes of timbre), incarnated in diagonal dimension of the music texture.