СЕМАНТИКА МУЗЫКАЛЬНОЙ МЫСЛИ НА ПРИМЕРЕ КОМПОЗИЦИИ OBJECTS.pdf
Ключевые слова:
семантика, синтактика, мысль, Най, органная хоральная прелюдия, И.С. Бах, авангард, узбекская мелодика, Многомировая интерпретацияАннотация
В Авангардной музыкальной композиции базовая слуховая перцепция человека подвержена сомнению. Композитор создает опусы, в которых переосмысливает прекрасное. Порой подобное движение входит в противоречие с фундаментальным человеческим восприятием. Такая музыка оторвалась от эволюционно-детерминированной перцепции. Ввиду того, что базовые формы музыкальной синтактики претерпели изменения, то в процессе творчества, современный композитор сталкивается со сложностью скрепления семантических образов в цельную музыкальную форму.
Попытка передать семантические образы в авангардной музыке была осуществлена автором статьи в пьесе «Objects», которую композитор создавал для специфического камерно-инструментального состава: трио ная (инструмент характерный для традиционной музыки узбеков и отсутствующий в западно-европейской музыкальной культуре), перкусии и виолончели. Премьера композиции прошла в 2012 году в исполнениии узбекистанского ансамбля Omnibus в Республике Корея.
Три объекта музыкального мира сталкиваются в семантической полифонии, чтобы описать метафизический порядок художественным способом. В композиции используются: цитата органно-хоральной прелюдии f-moll И.С.Баха, этнико-мелодические попевки узбекской традиционной музыки (фригийский паттерн) и сонорные, авангардные приемы (нестабильные паттерны с расширенными техниками исполнительства на музыкальных инструментах).
Анализ данной композиции, осуществленный в статье, является по своей сути исследовательской работой, проделанной композитором и за основу взявшим ряд завершенных научных исследовании мозговой активности в областях музыкальной семантики и синтактики. Автор объясняет причины использования той или иной музыкальной синтактики в соответствии с семантикой мысли о трех объектах, представляющих Многомировую интерпретацию квантовой механики.
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