О ритмической природе музыкального жеста: к постановке проблемы

Abstract

The predominance of rhythm as an organizing and forming factor in the musical art of the twentieth century is obvious. Perhaps this was due to the desire of modern man to reflect in an effective motor and emotionally music swiftness of human society. New rhythmic conception of the musical art of the twentieth century composers demanded that the search for new ways of impacting the audience, a new musical language, new means of expression. We can say that expressive musical gesture (a gesture, through the musical embodiment), various forms of movement that can cause the most immediate reaction of the listener, are one of the methods to ensure adequate perception and understanding of contemporary music the listening audience. In a number of musical styles, from the second half of the twentieth century, the use of musical gesture is the best way to disclose the essence of the artistic design. Beyond the musical gesture concept is difficult to define the specifics of the works of such composers as Pierre Boulez, Luciano Berio, Brian Ferneyhough, Helmut Lachenmann, Morton Feldman and others. Nevertheless, the theory of musical gesture is still in its infancy. The concept of musical gesture is interpreted very flexible. At the same time I would like to note that attempting to define what is a musical gesture and what is its role in music, you need to pay attention to the following aspects: 1 ) the musical gesture a phenomenon which manifests itself at the level of design and compositional embodiment of a musical work; 2) musical gesture manifests itself on the level of performance, as it is performing the gesture is energy, generating in some cases form; 3 ) musical gesture manifests itself at the level of perception, as the listening emotion, according to some modern scholars, such as Vincent Milberg, Ralph Phifer, Jose Vongard should be realized as a gesture that can pass the value of a musical fabric element works. The close interaction of music and movement at the level of deep psychophysical relations proved by modern science. This allows you to freely transfer one art form to another: the music in choreography and dance, a certain type of movement, gesture in the musical embodiment. Moreover, according to some composers, certain forms of movement can become an impetus for the development of creative ideas to deduce the form, fill expressive gestures, figures (B. Ferneyhough ). These ideas are addressed to the problem of interaction between music and movement are relevant and very promising in the light of modern musicology, music psychology, music theory, the theory of playing, etc. This proves the necessity of a deep scientific study of the problem and its attendant ideas related to musical gesture, gestural music, musical composition born of pulses of different types of movement and gesture.