Seventh Symphony of Avet Terteryan as an embodiment of the apocalypse’s idea

Abstract

The purpose of the article is to analyze the system of musical-language means embodying the idea of the apocalypse in the Seventh Symphony of Avet Terteryan, the specifics of the pivotal - volume structure of the material and its compositional and dramatic organization. To solve this goal is selected the structural-functional method of analysis. The methodology is based on the use of historical, systemic, structural-functional, comparative, methods which allowed to analyze the general panorama of A. Terteryan's symphonic works, to reveal the specific features of the composition and dramatic organization of the Seventh Symphony and to compare the results of the research with other his one-movement symphonies. The scientific novelty consists in determining the individual profile of Avet Terteryan‘s one-movement symphonies as sonorous-aleatoric and this analysis based on A. Maklygin‘s ―theory of formats‖. Conclusions. Using the example of the Seventh Symphony the features of the embodiment of the apocalyptic program in the Avet Terteryan‘s late symphonies composition are described with taking into account the resources involvement of the sonoristic and aleatoric technique of composition in the reconstruction process of the tone-phonic uniqueness of Armenian instruments.