Abstract
The purpose of the study is to give a preliminary idea of the nonlinear music expressing the postnonclassical concept of the world. Novelty: for the first time: 1) the novelty of the composer’s thinking of the representatives of the Second Musical vanguard is explained from the standpoint of nonlinearity and selforganization; 2) the author’s definition of nonlinear musical reality is given, where three forms of representation are distinguished: local, total, and biand polyfurcation; synergistic methodological tools, including terminology, are applied to musical subjectivity, which allowed us to define a new essence and new quality of musical and artistic compositions. The most important side of nonlinear music is the improvisational beginning, where the integrity of the whole is achieved through the inevitable emergence of a certain uniformity of material and the coherence of the elements on the basis of the selforganizing force of creative and performing will. By the example of J. Cage’s “Etudes Australes”, a structural feature is considered, which consists in its openness, atemporality and “dispersion” of sound tissue in timeless space, that is, the structure of etudes is dissipative) nonlinear) in essence. Models of nonlinear music systems encompass genre forms that define actionism – happening, performance, as well as collage and intertextuality techniques. Together, they demonstrate compositions with a “completely relaxed form” (I. Dobritsyna).Thus, nonlinear music is a specific musical text, or “modern … opus perfectum et absolutum” (according to M. Katunyan), dominated by casual processuality and structural openness, focus and selforganization, the principle of uncertainty and discrete metaphysics, which corresponds to the postnonclassical concept of the world and mental the specifics of the modern era. Nonlinearity characteristics include the multiplicity of semantic, lexical, and structural representations of the material (for example, form aleatorics) and loose text (for example, graphic music), the approximation of elements and means of expression (musical and extramusical), “deterministic chaos” (according to J. Gleick) and emergence of changes in the process of formation of musical matter, selfstructuring based on temporary and anthropogenic factors.
Highlights
The purpose of the study is to give a preliminary idea of the non-linear music expressing the post-non-classical concept of the world
Художественной интерпретацией постнеклассического мира выступила нелинейная концепция музыки, где мир мыслится как открытый текст, не ограниченный в своих возможностях и интерпретациях
Summary
Важнейшей стороной нелинейной музыки выступает импровизационное начало, где интегральность целого достигается с помощью неизбежного возникновения определенного единообразия материала и связанности элементов на основе самоорганизующей силы творческой и исполнительской воли. Ключевые слова: постнеклассика, нелинейная музыка, самоорганизация, диссипация, новый тип детерминизма Для цитирования: Мдивани, Т. В характеристику нелинейности входят множественность репре зентаций смыслового, лексического и структурного материала (например, алеаторика формы) и незакрепленность текста (например, графическая музыка), аппроксимативность элементов и средств выражения (музыкальных и внемузыкальных), «детерминированный хаос»
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