Minimalism and monotimbre flute ensemble in the creativeness of G. Beeftink (on the example of the composition „Birds”)

Abstract

The purpose of the study includes coverage of the interdependence of the technique of minimalism and the timbre of the ensemble on the example of the work of Herman Beftink, a namely the composition „Birds” for flute, flute-piccolo and alto-flute. In accordance with the purpose, the task of the study is to consider the formation of minimalism in music and its features of development, the role of software and the function of timbres in relation to the tasks in minimalism. A study of the work of modern American composer G. Beftink and the role of the flute and flute ensembles in his art. Research methods used in the writing of the article: empirical methods (description, comparison, generalization), theoretical knowledge (from abstract to concrete), analysis of musical work, observation, analogy, systematic approach. Scientific novelty. For the first time in Ukrainian musicology the composer Herman Beеftinkʼs work and his flute music were explored. Consideration of the interaction of timbres, namely the flute and its varieties, with the tasks of minimalism. Conclusions. The minimum semantic volume, the absence of any claims to its versatility in minimalism is paradoxical: the listener is immersed in the contemplation of sound ornaments and discovers their infinity and symbolism. Sound patterns can be compared with well-known in musical history sound formulas, which were associated with other styles and tasks. In this case, it’s a kind of natural symbols, referring to the endless stay in nature. The interconnection of compositional technique and monotimbre composition is a consequence of influence of the aesthetics of the soundtrack in Beeftinkʼs works and the association with the eastern identity of music and treatment of which are relieving person from fear of everything material.