Century Composers Research Articles

윤이상의 오보에 연주기법과 피리 연주기법과의 관계: 특수주법 교육방법을 중심으로

This study is to understand t he musical values of the world-renowned 20th century composer Yun Isang throughout his life, and to examine how his special playing techniques, which appear in the Western musical instrument oboe, are created and fused into his works, and to understand the relationship between special playing techniques of the piri and the oboe in his works, and to find an appropriate educational methods. Through this study, it is revealed that special techniques in his music, such as glissando, harmonics, double trills, rolling tone, quarter tones, multiphonics, flutter-tonguing, and bisbigliando are rooted in various playing techniques of traditional Korean piri, such as, sikimse, nonguem, chuseong, and toeseong, etc.. By understanding how these traditional elements of Korean piri are implemented in the work, the aim is to explore effective educational methods. This will help us to understand how the elements of traditional Korean musical instruments, piri are implemented in the work through special techniques and to find effective teaching methods. "The oboe solo piece "Piri" <"Piri" für Oboe solo, 1971> and concerto for two oboes <Invention> (“Inventionen” für zwei Oboen, 1983) by Yun Isang was examined as a representative work that well exhibits the sepcial playing techniques of the oboe and the techniques of Korean piri. The appropriate playing techniques and expression methods of the composers presented in the study results can be beneficial not only to oboe players but also to educators of music.

윤이상의 오보에 연주기법과 피리 연주기법과의 관계: 특수주법 교육방법을 중심으로

This study is to understand t he musical values of the world-renowned 20th century composer Yun Isang throughout his life, and to examine how his special playing techniques, which appear in the Western musical instrument oboe, are created and fused into his works, and to understand the relationship between special playing techniques of the piri and the oboe in his works, and to find an appropriate educational methods. Through this study, it is revealed that special techniques in his music, such as glissando, harmonics, double trills, rolling tone, quarter tones, multiphonics, flutter-tonguing, and bisbigliando are rooted in various playing techniques of traditional Korean piri, such as, sikimse, nonguem, chuseong, and toeseong, etc.. By understanding how these traditional elements of Korean piri are implemented in the work, the aim is to explore effective educational methods. This will help us to understand how the elements of traditional Korean musical instruments, piri are implemented in the work through special techniques and to find effective teaching methods. "The oboe solo piece "Piri" <"Piri" für Oboe solo, 1971> and concerto for two oboes <Invention> (“Inventionen” für zwei Oboen, 1983) by Yun Isang was examined as a representative work that well exhibits the sepcial playing techniques of the oboe and the techniques of Korean piri. The appropriate playing techniques and expression methods of the composers presented in the study results can be beneficial not only to oboe players but also to educators of music.

Eduard Hayrapetyan Piano quartet (1981 – 1998)

As a result of the study of the theme, our conclusions are as follows: In the present article we deal with the piano quartet of the composer Eduard Hayrapetyan. This musical work has its incomparable place both in the creative activity of the composer and in the Armenian chamber instrumental music. Eduard Hayrapetyan is one of the prominent representatives of the Armenian composer school. He created European classic music derived from Armenian professional musical traditions, synthesized contemporary melodic elements with folk and folk - professional elements. He also responded with great interest to the contemporary professional musical structure and in this way created his own special composer trend.In the 20th century composer creative life was flourishing. Eduard Hayrapetyan belongs to those composers whose creative activity is appreciated by the musicians and by the listeners. In 1981 he created the piano trio for violin, cello and piano. However some time later he transformed the trio into the piano quartet (violin, viola, cello and piano).The second part of the quartet was transformed in the figurative meaning. It became more meditative, but not in the meaning of Buddhist meditation, where human thinking is separated from reasonable notion. He described spiritual state of a human being as the heavenly spiritual world. At the same time he restrained human emotions and deep feelings. The piano quartet is unique by its composition. It lacks the general thematic development, i. E.it is based on the mutual transition of the variations, which is expressed very brightly.

Where Sight Meets Sound: The Poetics of Late-Medieval Music Writing Emily Zazulia

Continuities within and between historical periods are often contentious, and this new book offers a stimulating perspective on the point of demarcation between ‘Medieval’ and ‘Renaissance’. At issue is the potential, made possible by mensural notation, for the same written material to yield different musical results in performance. The discrepancy between written material and sonic results only appears that way to us because of music notation’s subsequent development, as the relative duration of musical signs became fixed; to those working within the mensural system, the notation of duration was always understood to be contextually dependent. But over the course of the fifteenth century composers began to engage collectively with that potential with ever increasing intensity, ingenuity, and sophistication. Where Sight Meets Sound focuses on an area where this phenomenon found particularly rich expression: the notation and performance of cantus firmi. One might think that this potential had always existed, being written into the mensural system itself. The first surprise of Emily Zazulia’s narrative is the realization that its exploitation as a compositional resource came about only gradually. She begins with a thought experiment: Charles the Bold, duke of Burgundy, having inherited the now fragmentary Trémoïlle manuscript first owned by his great-grandfather, asks his court composer Antoine Busnoys to re-notate some of the music so that his chapel can sing it. Confronted with tenors incorporating repetition, Busnoys and his singers would have found the notation alien not because it was too complex but because it was in a certain sense not complex enough. Although it was quite common in fourteenth-century tenors for material to be repeated in halved note values (diminution, in other words), Zazulia shows that in such cases scribes generally wrote out the diminutions out in full, whereas by Busnoys’s time they were typically indicated by means of a repeat sign, a verbal rubric, or some other ‘metasign’ (Zazulia’s term—not just for reasons of practicality or economy (e.g. space-saving) but as a positive aesthetic decision. In the first chapter, Zazulia locates the change in scribal practice in the first quarter of the fifteenth century; not coincidentally, the same period sees the emergence of pieces (like the much-discussed Codex Chantilly motet Inter densas/Imbribus/Admirabile) where repetition no longer consists of ‘straight’ or exact diminution (in modern terms) but entails a degree of contextual reinterpretation, brought about by reading the same material under different mensurations. (Another harbinger of the change in approach is scribes’ increasing tendency to notate mensural signs at the start of pieces.) The potential for prescribing non-standard readings of the notation (Zazulia’s ‘transformative impulse’) gradually extended to other systematic procedures (e.g. augmentation, inversion, retrograde) and thence to more arbitrary operations in the last quarter of the fifteenth century (e.g. discounting of stems, certain categories of pitches, or rests). But the ‘transformative impulse’ is often accompanied by a corollary, the principle of ‘notational fixity’ (Zazulia’s term again), whereby all these transformations refer back to a single notational artefact whose details were fixed for the duration of the work. As the genre most associated with multiple repetitions of borrowed material, the cantus firmus mass became a privileged locus of these strategies. It has been observed that notational fixity was first associated with mass tenors derived from polyphonic songs (understandably, since these dictated both pitches and rhythms); only later, particularly with Obrecht, was the principle extended to chant-based tenors (particularly with respect to the ligatures of the given source), whose use as cantus firmi of course pre-dated that of polyphonic songs.

Inštruktívna tvorba vybraných súčasných skladateľov a jej využitie v umeleckom vzdelávaní v základných umeleckých školách

Slovak piano music of 21st century composers is quite extensive, so it is important to know how to navigate through it. The versatility and genre variation in this work is rich, yet relatively unknown to the music public. This is evidenced by the fact that we hear mostly old familiar pieces at music events. Also due to this, the use of instructive piano works by contemporary composers in the pedagogical process is relatively underrepresented. Our aim is not to map all the available literature, but to highlight that which meets the criteria for use in the pedagogical process.

Composition in the Aftermath of Hebrew Culture; The Musics of Betty Olivero and Chaya Czernowin

Ideally this article should be titled "decomposing Hebrewism," except that by the turn of the twenty-first century composers in Israel were past the point of opposing the tropes that constituted Hebrew culture and the territorial paradigms that had conditioned it. Still, the two composers under discussion here—Betty Olivero and Chaya Czernowin—do not offer more-of-the-same stand-ins in the monolithic form of representations or identities (gender identities included); nor are there common stylistic traits that could reason their joint appearance here (and their gender, needless to say, would be a poor excuse). In fact, it is despite their unequivocally different aesthetic penchants that we can point to artistic perceptions which mute national territorial tropes, disable the Zionist management of Jewish history, and opt for non-redemptive poetics—all while drawing on Jewish musical traditions or modern Hebrew literature. Looking at (and listening to) Olivero and Czernowin's works, this article discusses the modern and postmodern patrimonies that steer their writing while situating both in the aftermath of Hebrew Culture. Knowingly circumventing the playing of identity cards or the displaying of peripheral masks, Olivero and Czernowin's musics signal a constituent shift toward simultaneities, multiplicities, defacing of musical signifiers, and the unmarked semiotics of cultural spaces that are bluntly incongruent with the national.

“IMAGES” SERIES FOR PIANO BY COMPOSER AYAZ GAMBARLI

The given article provides extensive information about the creativity of the composer A. Gambarli who is the laureate of International Competitions. Here we take a look at the examples of piano music which composer wrote in different years, especially the "Images" series. He tried his talent in several genres and forms of music. Piano music occupies a special place in the composer's career. A number of his works have been successfully performed at International Music Festivals and in many countries around the world. "Six Sketches" (piano, 2003), "Resistance of the Elements" (piano trio, 2013-2014), Suprematistic Figures" (piano trio, 2014), "Resonance" (solo piano, 2015), "September Clouds" (solo) piano, 2015), "Illusion" (solo piano, 2018), "Sadness" (solo piano, 2019), "Riga in the rain" (solo piano, 2020) enriches the composer's piano creativity. The article analyzes the "Images" series written by A.Gambarli in 2015-2018 and explains the modern writing techniques that are touched upon here. A. Gambarli is known in the music community as a composer who is constantly working on himself and sets serious goals. We should note that A. Gambarli was a student of A. Malikov's class and learned many secrets of composition from his great teacher. The modernity observed in his works and he demonstrates a well-thought-out, measured writing style on the subject. In the "Images" series analyzed in the presented article, the composer mainly uses the variety of register capabilities as much as possible. Dynamic signs, changing meter-rhythm, breaks (pauses), different timbres, modern writing techniques, clusters, wide possibilities of the piano, etc. are the features that attract attention in the series. The programmatic idea given by the composer to the title of the work arouses great interest in the listener. Our main goal in the article is to reveal some points related to the application of new writing methods by the 21st century composer. Keywords: Ayaz Gambarli, music, modern writing, registration, Timbre, young composers, international competition, festival, talent, piano music.

Dance in the Salons: Waltzes, Polkas and Quadrilles in Serbian Piano Music of the 19th Century

As public events, balls had an important role in social life among the Serbs in the Habsburg monarchy in the 19th century. They were organised by the aristocracy and citizens, various associations and ethnic groups. The most prestigious were the so-called “nobles”, id est aristocratic balls, while the civil ones were less elegant. A repertoire of dances was to some extent conditioned by the type of the ball. Waltz, polka and gallop were very popular at civil balls, as well as stylised Serbian folk dances, such as kolo. At noble balls, on the other hand, besides waltzes, polkas and gallops, it was quadrilles and cotillions that enjoyed special popularity. On the other hand, in the young Principality of Serbia, the organisation of the balls began in the 1860’s, both at the prince’s court and in better hotels in Belgrade. In the 1860’s, the ball season in Belgrade was opened by Prince Mihailo Obrenović. The dancing repertoire included Serbian folk and civil dances, as well as modern European dances. Following the example of larger European cities, a trend of dancing in salons was as well widespread among the Serbs. Socialising could spontaneously grow into dancing, and sometimes dancing was the expected grand finale of the evening. In salons one could dance for family entertainment, without guests. In court and civil salons in Belgrade, the gatherings, almost as a rule, ended with dancing of popular international and Serbian folk dances. International salon dances make up about a third of the salon music repertoire for piano. The polka is one of the most frequent international dancing genres in the Serbian piano music of the 19th century. Besides the polka, there are other subtypes of this dance: the polka-mazurka, the polka française, the schnell polka, the polka tremblante, the galopp polka, the polka valse and the polka caprice. After the polka, the waltz is the most frequent international dance genre in the Serbian piano music. Besides the waltzes originally written for the orchestra, numerous waltzes were composed for the piano. The popularity of quadrilles in ballrooms is also reflected in the albums of salon music for the piano. This dance genre, which was composed in a potpourri manner, was especially suitable for having the melodies of popular folk and civil songs arranged in it. While in the first half of the 19th century melodies in the quadrilles were either transcribed from popular operettas or operas, or were originally written by composers, in the second half of the century composers mostly resorted to melodies of Serbian or Slavic folk and civil songs. In the second half of the 19th century, Serbian folk dances, such as kolos, took over the ballrooms and the albums of salon music alike. The approval of the Serbian identity was sought in the kolo, and the emphasis on national characteristics through music was politically dominant in the 19th century.

The Tambourine, Joseph Dale's Grand Sonata and Its Role in the Appearance of Women Musicians in the Salon

By the turn of the nineteenth century composers such as Daniel Steibelt and Muzio Clementi were writing keyboard pieces with tambourine (and, occasionally, triangle) parts that were clearly intended for private salon performances by girls and young women. These works were introduced to public and private European salons during the early nineteenth century. Steibelt performed such pieces, typically waltzes, bacchanals, rondos and divertissements whilst on tour with his English wife Catherine, daughter of the London-based music publisher and patent tambourine manufacturer Joseph Dale. She became a renowned tambourine virtuoso, even attracting the attention of the Bohemian musician and writer Václav Jan Tomášek, who described the great sensation caused by Catherine's performances.I analyse different types of works that were written for the tambourine around the year 1800. Examples of short waltzes (which were usually published in sets of 6 or 12) are plentiful – they were by far the most common pieces written for piano and tambourine – and in them the historical link between the tambourine and dance is most obvious. I argue that these waltzes may have served as a bridging point between dance-like, energetic, social activities and passive, recreational drawing-room music. Further support for this idea can be found in a Grand Sonata for pianoforte, tambourine, flute, violin and basso by Joseph Dale. The tambourine part contains numerous choreographic instructions as well as a wide variety of playing techniques such as thumb rolls, bass notes and harmonics, the likes of which did not become common practice in the orchestral or chamber repertory until the twentieth century. Dale's intention was clearly to provide an opportunity for women musicians to express themselves in ways that were contrary to contemporary expectations of female social etiquette.

«Додекахорд» (1598) Клода Лежена: особенности композиторской работы с источником

A 16th century composer would typically borrow a monophonic melody as cantus firmus for their new composition. As a rule, no notable changes were made and the borrowed material would remain, at least within the work itself, a “solid melody”. For his polyphonic psalm collection Dodecachorde, Claude Le Jeune chose cantus firmus from the melodies of the Genevan Psalter. They are not always quoted literally. At times, they take a different mode of the polyphonic setting they are founded on or undergo melodic deformations. The choice of the original source and its modal “retouching” are guided by one and the same reason: Dodecachorde is the artistic manifesto of religious tolerance made by a Huguenot composer. Le Jeune tries to combine the declaration of the Protestant melos as an intonational basis of a polyphonic metric psalter and an attempt to fit it in the traditional allmode cycle on a new 12-mode basis.

Магнификаты Томаса Таллиса: особенности жанра

The article explores the specifics of the Magnificat produced by Thomas Tallis, one of the leading English 16th century composers. The development of the genre is a direct reflection of the religious history of 16thcentury England. It was a peculiar and unique period as catholic kings would replace protestant kings which inevitably led to the reformation of church rites. Tallis as a composer witnessed the reign of four monarchs, and the three Magnificats from his legacy appear to have been written for different forms of worship in pre-Reformed English Catholic and post-Reformed Anglican Church. Russian musicology has not given much attention to Tallis's works. Recently, a few studies focused on some of his compositions, however, Tallis’s Magnificats are still outside the research scope. This article summarizes the information of foreign researchers on the chronology of Tallis' works, the conditions of developing liturgical cycles, and their relationship to religious changes in the country. The article also provides a detailed analysis of Magnificats. In particular, it focuses on the specifics of architectonics and texture in the Magnificats with the Latin text and in the cycle written for Anglican Church. Thus, the article discusses structural features of Tallis’s Magnificat for the Anglican Church and raises a question about the emergence of the tradition that combines the Magnificat and Nunc dimittis in one cycle during a reformatory worship. In addition, the article examines the techniques Tallis used to approach the melodic basis of the Magnificats that embrace unique features of British culture to further transform them in a polyphonic setting.

Slovenian Music in its Central European Context: the 20th-century experience

Slovenia has had a rich and varied musical histoiy, despite the fact that it was part of the Habsburg Empire and then a constituent part of Yugoslavia. Its recent smooth transition to independence and its realignment with Central Europe have been noteworthy. In the past, Slovene or part-Slovene composers such as Gallus, Tartini and Wolf worked abroad, while in the 20th century composers normally returned to Slovenia after studying abroad. For example, Marij Kogoj and Slavko Osterc studied in Central Europe and maintained a strong musical connection with Central European modernism in the 1920s and 1930s. Kogoj's strong links with Viennese expressionism were well expressed in the opera Črne maskeof 1927, while Osterc's connections with Hindemith, Honegger and others is evident in the opera Krog s kredo and orchestral works such as Mouvement symphonique. On the other hand, Kozina, Arnič and Škerjanc developed a less advanced style and kept less contact with the rest of Europe. The political situation in the 1940s and 1950s made outside travel difficult, changing the situation dramatically. Composers such as Ramovš and Uroš Krek had different experiences: Ramovš managed to study with Frazzi and Casella in Italy, while Krek did not study abroad. Both, however, produced works in a distinctive neo-classical style that typified the immediate post-war period. Ivo Petrić's music follows the styles of Prokofiev and Shostakovich. From the late 1950s onwards the situation changed with strong contacts with Croatia, Poland and countries of the West: France, Germany, the United Kingdom and the United States in particular. This contact encouraged the emergence of a new avant-garde in Slovenia in the 1960s with such composers as Petrić, Ramovš, Lebič, Jež, Božič, Matičič, Globokar, Stibilj and Štuhec coming into prominence. Later they were joined by Pavel Mihelčič and Maks Strmčnik. Matičič and Globokar mostly stayed abroad, while Stibilj returned permanently later. In the decades before and after independence in 1991, a new generation of composers became established, with the most advanced composition by Aldo Kumar, Uroš Rojko, Tomaž Svete, Brina Jež-Brezavšček and Nenad Firšt. Postmodern tendencies are found in the music of Jani Golob and Marko Mihevc. Ali these composers are providing the Slovene musical scene with a wide variety of distinctive music that is both challenging and interesting.

Pastoral and the Principles of Its Stylization (Based On the Material of Vocal Music)

The purpose of this paper is to reveal the role of stylization as a style­forming principle in the evolution of the pastoral genre based on textbook chamber­vocal compositions (arias by W. A. Mozart), as well as little­known ones.
 The methodology. The proposed research differs from other studies, which are close in the topic (T. Livanova, A. Korobova, A. Taylor and others), by an interpretative­cognitive approach dictated by the challenges of modern performing practice. A comparative analysis of pastoral semantics in European and Chinese poetics was also used.
 The results. On the basis of vocal miniatures created in the XX century (S. Vasylenko “Pastoral” op. 45, No. 5 and A. Rudianskyi “Lotus” and “The Flute on the Water” from the cycle “The Lake of White Lotus” (2001), a parallel of the European pastorals and ancient Chinese poetry from the point of view of a pastoral person in different pictures of the world has been drawn. The onto­sonological foundation of the pastoral is made up of a human voice accompanied by a shepherd’s pipe, landscape sound painting (the singing of birds, the murmur of a brook), and the vastness of natural landscapes (plain air). The author develops the conceptual apparatus of the theory of the pastoral to reveal the richness of various composing interpretations of the genre, its dynamics: “semantics of the pastoral”, “ontology of the pastoral image”, “pastoral person”, “pastoral picture of the world”.
 The topicality of the interpretative­comparative analysis is the conclusion about the necessary principles of stylization of the pastoral: the presence of a genre invariant with its own stable, psychological mechanism of recognition by listeners; historical distancing from the prototype (ancient poetry, baroque opera); creative synthesis of many traditions of the artistic existence of the genre and the signs of its national musical attribution. Poetic text and symbolization of the musical language are also the mechanisms of stylization of the pastoral in vocal music. Musical and poetic symbols, created by the author’s intuition, form a new life for the pastoral in the creative work of the XX century composers. If the composer’s interpretation of the genre invariant of the pastoral has ensured its viability for millennia, then the performer of pastoral compositions is responsible for their genre and style “purity”. The performers must master the technique of recreating the sound­like world of a pastoral person.
 The practical significance of the topic is confirmed by the fact of the actualization of the pastoral in the performance of the XXI century, due to the systematic inclusion of its samples into the concert repertoire of vocalists (including those from the People’s Republic of China), which requires appropriate historical and theoretical knowledge when modelling the behaviour of a pastoral person in the modern cultural situation.

Avoiding silent opera: the \u2018grand\u2019 performing right at work in nineteenth century Paris

The music industry has been made possible through performing rights based on a law introduced by the post-revolutionary French national assembly in 1791. However, it took until the mid-nineteenth century until a system of royalty collection was established in France (and another half a century or more in other countries). In France, this new system for non-dramatic performing rights was preceded by royalty regulations in theatres. This study describes how nineteenth century composers were compensated for their work in the Paris Opera through this performing right for drama, known as the ‘grand right’. The tariff-based compensation method had been put in place by a royal réglement in 1713. It created a classic winner-take-all phenomenon in which composers such as Auber, Meyerbeer, and Halévy thrived in the nineteenth century. A contributing fact was the opera house programming which, contrary to the programming of today, favoured new pieces. ‘Grand opéras’ were à la mode and they contributed to the financial success of their composers. However, these operas eventually lost their attraction. In 1884, the Paris Opera adopted a compensation system based on a percentage of box office revenues. The study is based on primary data for 1810–1866.

Maidens, flirts and seducers

This paper discusses the objectification of women’s bodies in the discursive regularities present in the musical compositions of Chiquinha Gonzaga, a late nineteenth and early twentieth century composer from Rio de Janeiro, Brazil. Guided by Foucauldian discourse analysis, the paper argues that enunciations emerging from Gonzaga’s songs are triggered by the devices of sexuality, racial whitening, resistance, confession and marriage. Based in a musical discourse that references women with terms such as maiden, seducer, flirt, tasty and mulatto, these enunciations are demarcated by hierarchies of gender, ethnicity and social class. Even though the enunciations under investigation are associated with a particular musical era in Rio de Janeiro’s history, they are not far removed from dominant enunciations about women in contemporary Brazil. This suggests the difficulty of breaking away from representations that subjugate women, particularly when the patriarchal power relations that enabled these representations remain prominent.

Jeff Morris: Hearing Voices

Jeff Morris: Hearing Voices

Педагогический потенциал музыкальных произведений для детей композиторов ХХ века

Педагогический потенциал музыкальных произведений для детей композиторов ХХ века

Klasik Batı Müziği Yaratılarında Boyutsal Seslendirme

Spatial is related to multi-dimensionality in nature. Spatial sound is perceived in three dimensions in relationship with the source location. Thus, spatial sound perception provides the location of sound source. In other words, this capability of localizing sound in space is often referred to as spatial sound. In music technology, spatial sound, which is introduced to the listener through various techniques such as mono, stereo, quadro, ambio, surround etc., is in the domain of spatial audio studies. Hundreds of years ago, when there was no concept of music technology yet, spatial sound was practiced by a number of classical music composers. Giovanni Gabrieli, in the 16th century, splits the choir in two groups named "cori spezzati" similar to the stereo technique. The Baroque period composer Vivaldi’s “per eco in lontano” can be regarded as the first spatial sound performance with echo technique on a concert hall. In the history of classical music, Classical period composers Haydn and Mozart, Romantic period composers Berlioz and Mahler, and 20th century composers Ives and Stockhausen have composed some pieces which can also be considered as spatial sound performances. In this study, the relationship between classical music composers above and their performances connected with spatial sound will be discussed, examining the original parts of their music and establishing a connection with between their performances and dimensionality. The result of this study points out that some classical music composers can consciously raise awareness in the audience by presenting spatial sounds in their music.

Destinies of Croatian 20th Century Composers

Destinies of Croatian 20th Century Composers

Атрибутивные признаки героев и персонажей комической оперы в тематизме фортепианных сонат В.А. Моцарта

Many instrumental works by 17th and 18th century composers are generated, as it is well known, on the principle of the atricalization of the plots which demonstrates the characters and protagonists of opera works, various “migrating plotlines,” dramatic and comic situations generated in theatrical and opera works. In Mozart’s clavier sonatas it frequently becomes possible to discern the musical manifestation of typical indications of characteristic images, as well as the migrating comic opera attributes connected with them. This type of plotline organization of the piano musical text may be labeled as theatrical. The article is aimed at analyzing the signs of migrating operatic characters and protagonists, stage settings, dialogues and polylogues, and at times entire theatrical acts, consisting of several alternating scenes demonstrating the appearance of the semantic situation of “a text within a text.” Within the scope of a clavier composition this manifests itself in the form of a theatrical dialogue containing signs of verbal actions and motional plastic arts.