GRAPHICAL REPRESENTATION J. BRAHMS’ COMPOSITIONAL TECHNIQUE IN PIANO QUINTET IN F MINOR OP. 34

Abstract

Under analysis is the issue of notation functioning as a sign system in the process of fixing a musical work, which is relevant in modern musicology. Scientific publications outline various aspects of musical semiotics, but do not highlight the relationship between the specifics of compositional techniques and ways of its rendering. Graphic signs are studied in the proposed article from the standpoint of this relationship which determines the scientific novelty of the results. The purpose of the research is to reveal the ways of graphic representation of the composer’s technique in the musical text on the example of J. Brahms’ Piano Quintet in F minor Op. 34 using semiotic and structural-functional methods of analysis. Results of research. In order to conduct this research, analysis of graphical representation of compositional devices in J. Brahms’ musical text has been done. His characteristic traits of writing include highly developed motivic technique. The composer finds new variants of musical units without changes of their rhythmical parameters or inner interval relations. In works by J. Brahms, variation presupposes such operations on motives, in which the composer changes either their articulation or temporal parameters as a result of shifting musical units in regard to the metric “grid” of the bar. Hence, there have been revealed new functions of the musical notation which becomes an important tool to fix and stabilize the musical work. Conclusions. As the composer fixes his musical intentions, formation of individual graphic sign system occurs; it is based on traditional notation but is marked by different functional and logical connections according to author’s intentions. As a result of this, various slurs, accents, “hairpins”, dynamic marks and their succession become one of the ways, in which composer’s thought acquires graphic representation. The specifics of graphic signs functioning in J. Brahms’ music requires their analysis as semiotic objects and understanding of the rules by which they can be deciphered. These rules cause relations between sign-bearers and their interpretants. Slur with its primal meaning of legato, placed in a new context, becomes a marker of motivic structure. Further joining of the slur with the “hairpin” allows indicating the principal tone, “emphasis” in a motive which influences its articulation. Thus, a circle of interpretants occurring in certain contexts expands.