On Some Principles of Interaction Between Eastern and Western Artistic Traditions in the Piece “Voice” by Toru Takemitsu
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Abstract
The article is devoted to one of the early avant-garde works of the Japanese composer Toru Takemitsu – the play “Voiceˮ for flute solo, the stylistic basis of which was the organic interweaving of Japanese artistic, aesthetic, mental traditions and norms with experimental forms and writing techniques characteristic of the Western avant-garde of the 20th century. Revealing the ways of their conjugation is the purpose of the publication. It is considered the connection between the canonical tendencies of the Japanese Noh theater, ancient genres and such styles as Dadaism, Surrealism, principles of intonation (microchromatics, microthematism, etc.), various performing techniques that go back to the sound image of the shakuhachi flute and, at the same time, to avant-garde sonorics. A special place is given to the analysis of the verbal text in French and English, which performs the most important semantic, compositional-dramatic, sonorous function. It is emphasized the role of improvisation at different functional levels of text, sound representation, the image of silence as one of the fundamental in Japanese poetics.
Keywords: Toru Takemitsu, avant-garde, surrealism, tradition, flute, microthematism, sonorics, improvisation.
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