Ivan Vyshnegradsky: Theory and Practice of Microtonality
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Abstract
The article covers the works of one of the representatives
of Russian music avant-garde I. A. Wyshnegradsky.
Theory and practice of his oeuvre are connected with one
problem — the idea of microtonality. In his theoretical
writings the composer uses the term «continuum» in its
typological meaning. The analysis of pieces by
Wyshnegradsky points at the possibility to use the modal,
tonal and serial principles in the system of microtonality.
However new phonic quality of diffused sound come to
the foreground in this compositions.
Keywords: Ivan Vyshnegradsky, techniques of composition
of the 20th century, Russian avant-garde, musical
modernism, microtonality
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