Expressive Possibilities of Textural Organization in the Works of National Khakass Composers (by the Example of Tatiana Shalginova's Plays from the Cycle "Sunny Chatkhan")
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Abstract
Music education is a long process, the purpose of which is to educate a professional performer. The complexity of training is due to the variety of musical and expressive means and techniques characteristic of a particular epoch-making style. The performer often faces a difficult task to get as close as possible to the musical style, to convey the features of its sound. At the same time, each epoch puts forward a special set of requirements for the performance of compositions, extending to various musical and expressive means: dynamic shades, tempos, strokes, harmony and texture. As a rule, the regularities of works design were determined by specific conditions of functioning historical (epochal style), or territorial (national style).
This article examines some features of the textural organization, reveals its expressive possibilities in the selected piano pieces of the modern Khakass composer Tatyana Fyodorovna Shalginova. The author, who has been an Honored Artist of the Republic of Khakassia since 1998, and a member of the Union of Composers of the Russian Federation since 2009, has created many piano compositions for children and youth, designed in the form of author's collections: “Mir Naki”, “Summer D Major”, “Spring G Major”, “Winter C Major”, “Sunny Chatkhan”, “Dancing Elves”.
As material for the article were used the following piano pieces from the album “Sunny Chatkhan”, written in 2001: “Shaman's Dream”, “Kovyl at the Salbyk mound”, “Living Water”. They demonstrate the various expressive possibilities of the texture and clearly show its national identity.
Keywords: Khakass composers, T. Shalginova, “Sunny chatkhan”, texture organization.
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