Abstract
Original and borrowed: correlation of the author’s and referred elements in modern musical work
Highlights
ХІV ■ Аспекти історичного музикознавства introduced after tragic culminations or the D minor orchestral interlude before the last episode of “Wozzeck” by Alban Berg
If we consider the music work in technical aspects, we find the combination of individual and “borrowed” elements at all levels of the compositional structure
Чи завжди кількісне переважання першого над другим необхідне для появи твору високої мистецької цінності, а переважання другого над першим прирікає твір на невдачу? Стаття має на меті з’ясувати
Summary
Some examples of the “author’s speech” do not show any problem, as we clearly feel, when exactly the author suggests his/her personal commentary to the “events” that were depicted before. Among these are the sorrow solos of wind instruments in the symphonies by Dmitry Shostakovich, which he usually. Huge number of works by Shostakovich, Berg and other authors does not include them This does not mean they lack the “author’s speech”. While identifying this element in the piece, it is important to reject the stereotype to bind it with slow music of certain character (meditative, melancholic, sorrow, festive, solemn, etc.). We may conclude the author’s individuality manifests itself everywhere, and the meditative episodes do not enjoy any priority in comparison to episodes of another figurative character and type of movement
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